Shadow-walks (at home)
In my long-term (almost 20 year) project Shadow-walks, I walk with local inhabitants of places on their special walks. Then I repeat the route alone, listening for the memory of that walk and singing my response. In a sense Shadow-walks is an attempt to make a person’s traces, their shadow, audible through my singing, improvising voice. 
During the Covid 19 pandemic it became impossible to walk with people because of  lockdowns and travel restrictions, so I adapted the project into Shadow-walks (at home). I ask volunteers to send me recorded descriptions of their special walks. These can be walks they remember, daily walks they wish they could still do, or walks they can take alone but not with me. My vocals in Shadow-walks (at home) respond to how I imagine the walk while listening to people’s verbal descriptions.
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About Viv Corringham
Viv Corringham is a US based British vocalist, composer and sound artist. Her work includes concerts, soundwalks, workshops and installations, exploring people's sense of place and the link with personal history and memory. She holds an MA Sonic Art from Middlesex University, London, and a Deep Listening teaching certificate from Pauline Oliveros. She received two McKnight Composer Fellowships through the American Composers Forum. 
Her project Shadow-walks has been presented internationally in venues including Hong Kong Arts Centre, Fonoteca Nacional de Mexico, Issue Project Room New York, Onassis Centre Athens, ICA London, Serralves Museum Portugal, Ohrenhoch Berlin, and Taipei, Shantou, Bangalore, Calcutta and Delhi universities.
Articles about Shadow-walks appear in publications including In the Field, Leonardo Music Journal, Organised Sound, Art of Immersive Soundscapes and For Those Who Have Ears.
more: www.vivcorringham.org

Shadow-walks (at home) with Catherine Clover, Australia - Viv Corringham (excerpt) out March 23

A Long Wait explores vulnerability and isolation during 2020 to 2021. Placed in the “clinically  extremely vulnerable” category, Paula García Stone was not able to leave her house at all during the lockdowns of 2020. She was also unable to walk for most of the year due to fractured bones in one of her feet. A Long Wait is the product of this period of grief, loneliness and frustration. Turning to her domestic and local soundscape for inspiration, she composes here with lawn mowers, medical equipment, insects and her own breath. “I found that generally my neighbourhood all had their lawn mowers out and were doing DIY, unlike the new found silence people seemed to be describing at  the time. Somehow I managed, and I found domestic sounds and my own medical  paraphernalia interesting and useful in the bigger context of my environment. I  hoped to amplify grief and at times frustration, as well as the rhythm of time passing by,” she explains. 
Both sadness and the convoluted and disorienting experience of time are important themes in this album, but it also marks lighter, more uncanny moments amid the difficulties of the past year. Heavy rainfall, experiences of extreme heat and humidity, and even a visitation by flying ants, swirl together in the compositions, sitting uneasily alongside García Stone's quiet breaths, medical  devices and discontent. 
An album of both loud and quiet dismay as well as unexpected comforts and surprises. 
Out July 16 on CD/Digital.

About the artist:
Paula García Stone is an Anglo-Hispanic visual and sound artist. Due to type 1 diabetes and its complications, García Stone has been in and out of hospital since 1975. These experiences of both health and vulnerability as well as the medical system are central to her practice. She has been active within the arts for more than 30 years, and began composing with sound in 2003. She has worked both as a solo artist and collaboratively across composition, installation and film. For more: paulagarciastone.com

A Long Wait (excerpt) - Paula García Stone - out July 16

An album exploring longing, separation and the desire to be somewhere else. With The Yearning, Helman aims to transport the listener somewhere new, away from our current realities, as part of a project aimed at relief and release. Out July 30, digital and CD.
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Liz Helman is a London-based multi-disciplinary artist, working in time-based media. In her practice Helman is interested in exploring place and environment, in particular the subliminal and emotive aspects of space. By walking the streets, and experiencing different levels of sounds, she begins her process with field recordings, making immersive and mesmerising drone based compositions that explore layers of sound and texture. More: https://lizhelmanworks.com

The Yearning - Liz Helman - out July 30

The Australian-born, London-based sound artist and researcher joins the Outhouse series for an hour of music from her label, Flaming Pines. 
Remain stringed in the bows but never further than the remainder
A journey from silence to silence
I had no course but to follow

@katecarr
https://flamingpines.bandcamp.com/

Outhouse Mix: Kate Carr

Graham Dunning explores the world as a giant record player in his new tape Something About Still Trying. Well known as a turntable experimentalist  Dunning brings this sensibility to field recording in this album which sees him building a giant stylus out of a stick for A Tracing of a Single Tide, re-configuring a windmill as a huge turntable in Windchange, and finding a recording which sounds like a scratch loop to compose the opening title track.
Something About Still Trying is out January 30 on cassette.

A Tracing Of A Single Tide (excerpt)  - Graham Dunning - Something About Still Trying out Jan 30

From poking stove elements with pencils, to recording the ambience of a teapot, and playing balcony railings, mnk is an album which restlessly re-imagines everyday sounds. FenGi is the moniker of the Turkish sound artist Altuğ Kaptan, and mnk represents his extended examination of the vibratory and the resonant. It is an album which blurs the boundary between object and instrument, at one point Altuğ performs by simply opening and closing doors, at another he reworks recordings of the violin. Altuğ describes himself as someone who ceaselessly records sounds, seeking spontaneous moments amid the everyday. In his debut solo album mnk we discover an artist both courageous and frenetic, who sitting amid the boiling stove pots, and the sliding doors of his home finds music.

Mastered by Nima Aghiani
Art is the work Rug by Tuba Kaptan

dng - FenGi from the album mnk out July 3

Cycling is enjoying a surge in popularity in these pandemic days, and this collaboration examines some of the linkages and soundscapes this boom has entailed. It stems from an online residency hosted by Iklectik in London and Lacking Sound festival in Taipei, which brought together UK and Taiwanese artists to explore quarantine in May of 2020. With Taiwan one of the world's major producers of bikes, and Londoners forced onto waiting lists to purchase one Kate Carr and Sheryl Cheung decided to examine their respective cities of London, and Taipei through the prism of the bicycle. This piece explores the bicycle as a musical instrument, as well as an object which can somehow speak to this particular moment with the pandemic. It offers a glimpse of our real and imagined cycling soundscapes as we are plunged into, and attempt to escape the 'new normal'.

Cycling (excerpt) - Kate Carr + Sheryl Cheung out Sept 3

Experimental vocalist and sound artist Yifeat Ziv debuts on FP for our 100th release with her glorious exploration of sounding in the Brazilian Amazon. Some words from her text accompanying the release are below:
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"The forest reverberates my voice. The density of the trees and the thick canopy reflects sound waves and creates an echo as if I was singing in a closed space, maybe a chapel. I didn’t expect it. This echo feels like a mirror, it feedbacks my vocal intervention, reflecting traces of my own sound pollution in the Amazon’s dense soundscape." --- Yifeat Ziv
Out on CD/digital.
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Thanks + credits:
The piece was created as a response to my experience in the Brazilian Amazon rainforest as part of the Labverde artist residency in August 2019.
Premiered as part of “Other Creatures, Entities and Faint Beings” event at Cafe OTO London (curated David Toop). 
The album recording is based on a live performance at IKLECTIK London in January 2020, as part of "The Field is Not a Field" event (curated by Mark Peter Wright).
Thank you: AER Art for the Environment programme (University of the Arts London), Labverde 2019 team, scientists & group of artists, David Toop, Marco Tarantino, Guy Fleisher & Yoav Ronat. 

Field recordings, vocals & composition by Yifeat Ziv. 
Mastered by Simon Scott at SPS Mastering.
Cover photo by Hilnando Mendes. 
Design: Kate Carr

Amazonian Traces of Self (excerpt) - Yifeat Ziv out November 17

A visit to Rome’s 16th-centry Villa d’Este provokes feelings of circularity, cycles, connections. Cardinal d’Este not only sought to revive and surpass ancient Roman architecture and design, his villa was literally made from the past: marble and statues from the ruins of Emperor Hadrian’s nearby 2nd-century villa provided an ample supply of antiquities. But it’s not just the recycling of 1500-year-old materials and ideas that gives Villa d’Este its overwhelming sense of eternal return. Its complex system of fountains, water jets, canals and pools is a feat of engineering, providing a constant flux without the need for any pump. 

Cycles of additions, modifications and imitations have never stopped. Abandonment and degradation seem always to be matched by renewal and renovation. Ivy and moss have advanced in layers, overgrown and flowing. Twentieth-century copies of ancient Roman fountains have taken the place of ‘real’ statues sold off to sit in museums. Like a spiral slowly unravelling, the villa has never stood still. But it’s the invariable, but everchanging, stream of water that most strongly signals the villa’s rhythm of succession. Its climax at The Fountain of Neptune is overwhelming, and it’s here that one might find some present-day meaning from this cascade of sounds, shapes and ideas from almost 2000 years ago.

Meanwhile, at the beginning of the 21st century’s third decade, quotidian life goes on even though the connections between us have suddenly and simultaneously expanded and diminished. After decades of excess and misbalance, COVID-19 is sweeping across the globe but still managing to discriminate. Everything is upside down but the bottom is still the same. The loop narrows at the same time that it increases the breadth of its grasp. Scale is everywhere and local, all at once. Seasons shift. Disequilibrium uncurls. Fairness is still unfair. 

In the northern suburbs of Melbourne, Australia, life endures despite grim reports of our daily tally. We’re drawn into a 5-kilometre radius under a ‘lockdown’ intended to reign in the virus. Time and space stretch and meld. Boundaries blur and sequences bend. Familiar is new and strange is normal. Circularity, cycles, connections. Meta and micro. A daily walk on drawn out paths. A treadmill in its groove. A school bell rings familiar tones but echoes on its own. The big and the small. The loud and the quiet. The seen and the unseen. The haves and the have-nots. And the hopeful call for The Great Reset.

David Evans, August 2020

Credits:
Recorded, composed and mixed by David Evans
Mastered by John Lee at Phaedra Studios
Art: Louise Kellerman
Design: Kate Carr

We must all act together now (excerpt) - from Waiting for The Great Reset - David Evans out Oct 27

Inspired by her teenage experiences and the stories of others with a similar background, Bangladeshi-Australian sound artist Shoeb (Sia) Ahmad explores the blooming of one’s inner sexuality, meditations on intimacy and exploration of personal relationships in im/modesty, a 60 minute sound work that uses a text narrative for three voices to guide the listener through a psycho-geographic trip of one’s sub-continental heritage, written for and manipulated from Indian electronic instruments, harmonium and percussion as well as field sounds recorded in southern India and Bangladesh.

‘im/modesty’ was originally developed as a multi-speaker installation during a residency in Kerala, Southern India in 2016. Upon commission from the Australian Art Orchestra, the original installation work was reworked into a semi-composed/semi-improvised work for small ensemble and premiered as part of their Meeting Points series at the Arts Centre Melbourne in December 2018.
im/modesty will be released during the worldwide celebration of Transgender Awareness Week 2020 and this album highlights both Flaming Pines and Australian Art Orchestra's ongoing commitment to providing a platform for diverse voices to share their narratives through music.

About Sia Ahmad
Sia identifies as a person of Bangladeshi heritage and a transgender woman. Her music is known for exploring deeply personal experiences and vulnerabilities, in an evocative mix of acoustic and electronic indie pop. She has a rich and extensive background in Australian music, creating idiosyncratic works over the last decade, mainly as a solo artist under the name Shoeb Ahmad, a name she has continued to use for im/modesty.
Using guitar, keyboard, voice and electronics, she works both as singer/composer and improviser when performing solo and in collaboration. She has released a diverse range of original music while also working on sound design for dance/theatre, installation pieces and contemporary chamber composition.
Sia has performed throughout Australia, Japan, New Zealand, the UK and the SE Asian region as a solo artist and with groups such as Sensaround, Spartak and Tangents.

im/modesty (excerpt)- Shoeb Ahmad & Australian Art Orchestra  - out November 16

"I've been working on material recorded at the former UK Ministry of Defence site Orford Ness on the East England Suffolk coast. 
Since the Ministry of Defence left in 1993, the buildings have been overrun by nature.

The excitement felt by Bletchley Park's wartime code breakers was echoed here too: Britain's greatest scientific brains, along with 400 civilians and thousands of unacknowledged Chinese migrant workers all worked on developing the UK’s first nuclear weapon.

Today the place gives us a sense of what a post-apocalyptic environment might look and sound like. Air ducts once now burst open with the packed nests of roosting birds. There are seagulls 'playing' the atomic weapons laboratories with their cries; baby jackdaws duetting with gravel footsteps; metal stairwells transformed into aeolian harps. " Iain Chambers, Orford Ness.
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About Iain:
Iain Chambers is a composer and producer whose music often deploys field recordings and location sounds as musical material.

Iain's work is heard live in concerts, radio, sound installations and multimedia. His feature-length symphonies of industrial sounds have been commissioned by BBC Radio 3, WDR Cologne and ABC Australia.

In 2019 Iain launched the independent record label Persistence of Sound, presenting new musique concrète and field recordings.

Iain is a founder member of Langham Research Centre, an electronic music ensemble using obsolete Cold War era technology to create new music. The group also create new realisations of 20th century electronic works by composers John Cage, Alvin Lucier and Christian Wolff using an unusual instrumentarium: analogue tape, sine-wave oscillators, analogue radios and phonograph cartridges. LRC perform internationally, and released “Tape Works (Vol. 1)” on the Nonclassical label in 2017.

All tracks by Iain Chambers
Mastered by Nima Aghiani
Photography: Ian Rawes
Design: Kate Carr

Secrets of Orford Ness (excerpt) - Iain Chambers out October 27

Soon: Hiraeth by tarxun and Siavash Hakim out Nov 5
Latest:
Oblique by Corder & Yantis out Sept 17
Sounds of Mmabolela - Nikki Sheth - out Sept 3
The Yearning - Liz Helman
A Long Wait - Paula García Stone

A Tracing Of A Single Tide (excerpt) - Graham Dunning - Something About Still Trying out Jan 30

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