There's music to be heard in the most unexpected places. Intriguing stuff!

is this original sound? really good. Attaching contact mics on stuffs is an art itself.

Eerie - almost "vocal" sounds - ghostly amongst the clanging and banging metallic ambience!

Hearing Voices in the vibrations conducted of it all... amazing/etherial the voices in the metal...

Raw KatuH (Live Recording).flac

for chamber ensemble, electronics, and lighting

+++

this piece is inspired by the devastating beauty of nacreous clouds. these clouds are both very rare and hauntingly beautiful, with luminous pastel colors streaking across the sky. 

despite their beauty, these clouds are irrevocably harmful to the atmosphere. while their beauty comes from the diffraction of light as it passes through tiny ice crystals in the air, their appearance acts as a catalyst for the reactions of toxic chemicals that deplete the ozone layer and contribute to the ozone hole in the antarctic. 

this piece is a meditation on the beauty and destruction of the world we’re making. 

+++

premiered by collective lovemusic at Paine Hall at Harvard University April 28, 2023

+++

performed by collective lovemusic:
Emiliano Gavito - bass flute
Adam Starkie - bass clarinet
Emily Yabe - viola
Christian Lozano - e-guitar

volatile horizon

volatile horizon (2023) | collective lovemusic

[disuquiet0637] EGEG - ModMix

Made a few evenings ago while messing around with a patch I created in Vital. Additional bass sounds from TAL-Mod.

The track contains some samples from the Kenopsia pack by Emtpyvessel

The witches' path: Three cauldrons

Using slowed down fragments of recordings of pedalled piano notes, @stellato-strings touching her violin with the bow, a creaking piano stool and ticking clock, I created this piece using loops and effects on Ableton Live.

It's my contribution to this week's @naviar-records haiku prompt.

The title 'along' is taken from this haiku poem by Takashi Matsumoto:

'Flowing along
changing its colors
a soap bubble.'

Takashi Matsumoto was a Japanese poet originally from Tokyo. Born into a family deeply interested in nō theater, he also devoted himself to it in his youth until 1921, when he came into contact with Hototogisu magazine and haiku poetry. Beginning the following year, Matsumoto became a student of Takahama Kyoshi. In 1946, he launched the magazine Fue 笛 ('The Flute').

The image is from a fraction of a picture by Rodion Kutsaiev.

For more information about @naviar-records and the weekly haiku challenges please visit: http://www.naviarrecords.com/about/naviar-haiku

along (naviarhaiku533)

Based on Great Bells of Fire created by @ray_cobley and @33per: https://on.soundcloud.com/41Mg671BgkPgyLmX8

Feeling instantly inspired -- this reminded me of the duo work of Mark Fell and Will Guthrie -- I set about improvising some bassy, repetitive riffs on my Tele through 1440 looper, Pladask Elektrisk's Fabrikat and some other tone-shaping gadgets. Includes minuscule edits, albeit with loads of after-the-fact looping etc., to create more of an illusion of synchronicity. Enjoy!

More on the 638th weekly Disquiet Junto project, Center (3 of 3) — The Assignment: Complete a trio begun by two other musicians — at https://disquiet.com/0638/

Fells Of Fire (disquiet0638)

**Sound is compresses and quite because of soundcloud,SoundCloud recommends exporting at 48kHz when they know it ruins the audio that people work tirelessly on*
Caradon Hill Cornwall UK
Wind and pylons: interference and resonance
Sounds in the wires

Sound Devices 302 D mixer
Zoom F3
X6 contact mics

I harbour a profound appreciation for pylons and wires. It seems to me that pylons are a great example of multifaceted noise.
The Sonic noise above my head out of reach fizzing and crackle in the ether as high voltages zip and zap along the cables. It’s a noisy sound. crispy crackly textures, at once constant and moving, static and dynamic. 

The wind and rain at Caradon hill as every visit are intense and unrelenting, fog obscures the towers, sheep and landscape, closing down my visual field and opening up my auditory perception. I attach my contact mics directly to the wire as the wind whistles off the wires and send vibrational drones that I record and listen to over hours attuning to the rhythms, harmonies and dissonance vibrations.

The natural frequencies of the wire are determined by the integer harmonics of the fundamental. In very long wires such as the wires here reach at their pinnacle 780ft which are also very thick the fundamental is well below one Hertz. As I listen to wind, and tension of the wires as the wind contorts them creating higher harmonic frequencies which fall into the auditory range of humans (I am interested how the sheep and birds perceive these sounds). The very high harmonics become so crowded they cease to have discrete frequencies but rather tend to beat together, creating second-order frequencies of lower pitch. the length of the wire a family of interacting segments, each with its own fundamental within the auditory range sing in the wind. There is a vocal-like quality of the wires vibrating in the wind containing the sound of numerous ‘voices’, each competing for harmonic dominance.

The method of fixing the contact mics is an art in itself with  no single best method. Rather, attunment and knowledge of wing and weather patterns in which different conditions require different methods, which are established by rre-visits and experimentation.

Caradon Hill Transmission Mast Cornwall UK

This track symbolises the practice of tai chi and qigong to let the qi flow. Small, repeated movements help to focus on the flow.

This track was inspired by this week's Disquiet Junto project:
More on the 648th weekly Disquiet Junto project, Shadow Boxing — The Assignment: Employ shadow boxing as a musical metaphor — at https://disquiet.com/0648/

Flow Of Qi  (Disquiet0648)

Composed with recent field recording made on a 12 hour expedition near the wilderness of Wiorek 😉 Synthesizer and electric guitar added in one take earlier this after noon. With peace in mind.

Amanita Forest

I am both the dreamer & the dreamed

Original Track:
https://soundcloud.com/senmove/nodarel

SenSen - Nodarconel (Ghost Version)

Jamie combines art practice with field recordings and sound composition to enable non- anthropocentric readings of post-industrial sites. His experimental practice research methods include multi-sensory technological methods of observation, employing VHF, radio waves, Geiger counters, handmade synths and devices. Alongside using the latest software applications of granular synthesis and spatial audio Jamie creates immersive sound installations and extended electroacoustic/acousmatic compositions.
Jamie is a multi-award-winning artist researcher, has presented his work at International and National symposia and has exhibited and published widely including:

Jamie's work in sound has been broadcasted on Radio 3 Mixing it London (UK) and Resonance  FM  London (UK).Most recently Migration Sounds Oxford University UK,Sites and Memory Project and working with The Freshwater Sounds Archive in collaboration with Dr Jack Greenhalgh Canada Foundation for Innovation.

-Speaker at 6th International Conference of Photography & Theory (ICPT2022) Cyprus EXPANDED VISUALITIES: PHOTOGRAPHY AND EMERGING TECHNOLOGIES
-CAST Cornubian Arts & Science Trust Helston (UK). Test Space: Expositions of practice-led research Symposium.
-Feature on my field recordings on Resonance FM London UK
-Phytogenesis II Provocations of Plants, Philosophy and Photography. International Symposium University of Plymouth, North East Photography collective, Newcastle University. I delivered an academic paper on my practice through the lens of Deleuze.

Caradon Hill Transmission Mast Cornwall UK

Jamie House

Recent comments

Stephen McGreevy

Stephen McGreevy

veloopity

GregorVida soundrecording - Vida Sounds

Related tracks