"The piece is a sonic web of works recorded by Via App mainly over the course of 2020 and 2021 that maps and digs into sites of collective and personal psychic terrain traversed during the pandemic and correspondent dimensions opened by it."

Φ
https://soundcloud.com/viaapp7
https://viaapp.bandcamp.com

SI055 - VIA APP live

Will Guthrie - drums, percussion, microphones
Rudolf Eb.er - electro-acoustics, microphones

LP on Fragment Factory

rudolfeber.bandcamp.com/album/h-i-l-t
willguthrie.bandcamp.com/album/hilt

Rudolf Eb.er & Will Guthrie - HILT (excerpts)

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

James K - NTS MIX August 2019

‘Explorations in non-Western communal healing practices: a Sound & Scent collage’

Featured SCENT MIX:
Rose and Vanilla. Rose is good for the soul and heart spaces, for harmony, peace, love and tranquility. Vanilla is good for revitalizing your energy towards emotional growth as well as pleasure and helps to create an uplifting space and improve concentration. They connect to the heart, throat, sacral and crown chakras. 

-As part of my year-long artist residency at ISSUE Project Room, I have been exploring what a communal (Nigerian) diasporic healing practice looks like, sounds like, smells like and feels like. I will be sharing a sound and scent collage of my inspirations and musings in regards to my exploration in performance art rituals and the five elements of nature. 

More here about the residency: https://issueprojectroom.org/artist/rena-anakwe

Excerpts from some of my inspirations-
-Dr. Nnedi Okarofor at the Aké Arts and Book Festival in 2016: https://www.youtube.com/watch?v=jHRMWc0w6BA
-Dr. Jacob Olupona interviewed in the Harvard Gazette in 2015 by Anthony Chiorazzi: https://news.harvard.edu/gazette/story/2015/10/the-spirituality-of-africa/

Montez Press Radio [September 2019]

Explorations in Non-Western Communal Healing Practices on Montez Press Radio

All I Want Out of a Red Box Body Unsolved

Wish You Were Here Mix

Theodore Cale Schafer ”Play This at My Funeral (Excerpt)”
die Reihe “Psychic Loneliness Excerpt 1”
Claire Rousay “Dice in Santa Fe”
Sean McCann, Matthew Sullivan & Alex Twomey “Bird” 
Matt Carlson “Are You Interested in the Reunion of Winners”
die Reihe “Psychic Loneliness Excerpt 2”
Alex Zhang Hungtai “Sculptime”
Nick James Scavo & Rachelle Rahmé “10 Badly Built Audio Worlds” & “Diametrics of Suspension In Relation to Unbuilding (Excerpt)”
Lucy Railton “The Critical Rush”
Network Glass “5:12”
sohshie LAN “Happiness”
Jeff Witscher “Cats or Dogs or Birds”
Madalyn Merkey “191010-1h-53m.mp3”
Travis Woolsey “Do Not Psychologize Me (Excerpt)”
Daryl Seaver “Twenty Regards for a 21st Century Adult (Excerpt)”
Eric Frye “Scene 7”
Asha Sheshadri “Looting Index"
Daryl Seaver “Twenty Regards for a 21st Century Adult (Excerpt)”
Sun Araw “Everywoman (Excerpt)” 
Daren Ho “BSEase”
Helm “Milwaukie Houndogs”

Wish You Were Here

EMPTY EDITIONS presents Mein Corona, a new single from legendary Hong Kong-based provocateur and pioneer of Cantonese industrial noise music XPER.XR. His first official release since 2006, Mein Corona is an ecstatic, darkly humorous, and ultimately hopeful document of life amidst the ongoing global Coronavirus pandemic. A singularly twisted interpretation of The Knack’s 1979 hit single “My Sharona,” Mein Corona embeds lyrics that allude to Chinese bat-eating and state conspiracy within a densely layered aural brigade of whip-cracks, sirens, shattering glass, and stock TIE Fighter screams. All, of course, set to the instantly recognizable and perversely infectious guitar riff of the original song. The single follows in a tradition of unexpected reimaginings and wayward covers—think Merzbow covering Christmas classic “Silent Night,” or Tori Amos’s version of Slayer’s “Raining Blood”—situations where the original is subverted entirely to great effect. Although Xper.Xr’s own discography is already studded with a number of bizarre renditions of existing tunes—from Prince’s “When 2 R in Love,” to interpretations of children’s nursery rhymes—Mein Corona might just be the strangest and most timely one of all. Developed spontaneously, and certainly not originally intended for proper release, this single was recorded in a series of feverish, ad hoc studio sessions between Xper.Xr and Alok Leung, and features saxophone provided remotely by the great Parisian improviser Jean-Luc Guionnet. 

Mein Corona unfolds as an absurd and truly unorthodox version of the 1970s radio hit. Xper.Xr carries the song’s original melody in karaoke fashion—a buzzed delivery that vies for presence amidst an overwhelming backing track and general anarchic confusion. Guionnet’s laser-sharp, siren-like saxophone playing functions as a kind of back-up vocal contributing to the atmosphere of sustained mania and malfunction. Within this carnivalesque universe of sound, Xper comes across as an unhinged bandleader directing a chorus of short-circuiting televisions—an aural metaphor for the affective space of our own quarantine-addled, compulsively media consuming, remote moralizing, and online shopping selves. Xper’s musical response to the pandemic is inflected by a perspective and sense of humor which is characteristically Hong Kong: a kind of self-lacerating relative of 無厘頭 (mo lei tau). An absurdist type of grassroots humour which delights in grotesque exaggeration, verbal nonsense, and illogical performances, 無厘頭 originated (at least in part) as a cathartic outlet for Hong Kongers widespread sense of existential futility as colonial subjects. This irreverent spirit is found throughout Xper’s work, especially as he has challenged conventions of deference and “good taste” within the realm of avant-garde music. With this tact on full display, Mein Corona is a brazen and confounding attempt to find a kind of optimism (even if that optimism is simply the ability to still create) amidst the confusion, adversity, and paranoia of the global pandemic: a much needed antidote to an atmosphere of official dread and grey seriousness which has suffused our everyday lives. 

The release was inspired by The Knack’s “My Sharona” written by Berton Averre & Doug Fieger (1979), produced by Empty Gallery and Xper. Xr., with Saxophone by Jean-Luc Guionnet and additional arrangement from Alok Leung. Midi-sequencing, recording, mixing, and mastering is by Alok Leung at Lona Records Studio, Hong Kong, April 2020. Artwork is by Xper.Xr and Michael Yu. Special Thanks to FeastOn. 

All proceeds of “Mein Corona” will be doubled through a matching grant from Empty Editions and donated to the Centre for Suicide Research and Prevention at the University of Hong Kong.

Mein Corona

XPER.XR - Mein Corona

made this mix of my productions last summer
just found the file so here it is :)

all my music is on my bandcamp"
https://bergsonist.bandcamp.com

Bandcamp

100 % Bergsonist

Two of the most exciting innovators of the trumpet, Nate Wooley and Mazen Kerbaj perform solo and duo at a performance produced by ISSUE Project Room in September 2012 at Our Lady Of Lebanon Cathedral in Brooklyn Heights.

Nate Wooley’s solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor, Wooley has been called “an iconoclastic trumpeter” (Time Out NY), and "one of the most interesting and unusual trumpet players living today...without hyperbole” (Dave Douglas).

Mazen Kerbaj is many things: a musician, a producer of comic books, a visual artist, a voice for Lebanese music, and a proponent of the fleeting nature of live and improvised music. He came to international attention in the last ten years through his founding of the Irtijal Festival in Beirut, which was followed by the record label, Al Maslakh and now Johnny Kafta’s Kids Menu, which features music by Lebanese musicians almost exclusively. Leading the charge to re-shape world improvisational language. Kerbaj’s own trumpet playing holds its own special place within the current improvisational practices on the instrument. He sidesteps the two predominant branches of practice of the new generation, those of virtuosity and anti-virtuosity, and finds a third path in which the horn truly becomes alien, speaking a language of its own.

This podcast was produced in collaboration with the radio station of the Clocktower Gallery, operating at artonair.org

Nate Wooley & Mazen Kerbaj Live at ISSUE, 9/2012

ISSUE Project Room is a non-profit center for innovation, discovery, development, and presentation of new music, sound, dance, performance, literature, video, and film.

Nate Wooley & Mazen Kerbaj Live at ISSUE, 9/2012

IssueProjectRoom

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