Eclectic Electronic Soundscapes -
Sometimes tracks are just too long for the usual playlist I put together so I decided to put together bitesized playlists for longer tracks.
Bitesized in number of artists but not scrimping on the length and quality of the listening : )
Take some time and immerse in the sound waves.

As with all the playlists, they are jumping off points to discoveries. They are not meant to be definitive. Just let some of the tracks play onto the next....follow up on "sounds like"....see who's following, many artists follow other artists....

Artists are  Mila Chiral, Ain Bailey, Alexandra Cardenas, Brona Martin, Jo Thomas, Rachel Lancaster and Shannon Sea.

Feminatronic #167 - Longlisten #3

In 2020 Jo Thomas was commissioned by IOU to create a new musical work to be played on sculptural sound installation Speaking Tubes. Her final work titled ‘In a Still Place’ was written in 4 weeks of lockdown during April to May 2020. It is a work that explores different states of stillness whilst acknowledging sometimes rapid change. 

A unique spatialised version of ‘In a Still Place’ was created and shared online on 4 June 2020. There are four small movements to the work making a 25-minute electronic music work: Static, Cover, Macabre and Home. 

Static 

Cover 

Macabre 

Home 

Of this piece Jo Thomas says: 

“For this work, I decided to focus on what was immediately around me. The sound of birdsong the static nature of lockdown, silences, fear, grief gaps, communal warmth, media messages, glitches and a home. The speaking tubes are designed as vortex cannons. I always had this in mind when I was composing music for projection inside a sculptural space. The music is composed to move freely allowing perspectives change and alter.”
credits
released June 4, 2020 

Image used courtesy of the IOU Gallery Halifax 
Composer/ Jo Thomas

In a still place

Jo Thomas

Jo Thomas 
Poly plastic
PolyPlastic from A Sketch of Nature, Composer Jo Thomas Violinist Simmy Singh
 Ty Cerdd 2021

PolyPlastic from A Sketch of Nature, Composer Jo Thomas Violinist Simmy Singh

Cascade Infinity is a work for Gezhung and Electronics . It was composed by Jo Thomas. Played live in Pontio by Luxi Tain on the 18.2.24

Cascade Infinity Jo Thomas (segements)

We swim where the birds are

Agna Rita – many voices, one message - review by Abi Bliss 
All fish weirs on the Thames and the Medway and throughout England are to be entirely removed, save on the sea coast.
You may be forgiven for not immediately identifying that as a line from the Magna Carta, the document revered across eight centuries as one of the icons of British freedom and democracy. But the treaty signed by King John in 1215 was chiefly about restraint. It offered royal subjects freedom through protection, whether that meant limiting the power of the crown to seize property and demand taxes, standardising weights and measures of wine, ale, corn and cloth – or stopping the obstruction of waterways. 
View it from a distance through the foggy lens of history and the Magna Carta makes a fine symbol of liberty; examine the details up close and you discover clauses such as: No-one is to be taken or imprisoned on the appeal of woman for the death of anyone save for the death of that woman’s husband. It seems that freedom is more for some than others.
In contrast, electroacoustic music entices with the promise of a world without limits. Confined only by their own imagination and the available technology, composers can sculpt sounds, synthesise, manipulate and refine them to levels of detail more delicate than any human ear can perceive. They can recreate worlds or shape impossible new ones, bend the laws of physics or, as Jo Thomas did on 2010’s Alpha, merge human with machine into a cyborg future.
In a similar way to abstract visual art and sculpture, electroacoustic music offers listeners – indeed, demands that they exercise – the freedom to interpret. And if composers are rulers only in the most intangible sense and only for the length of each piece, still it is here that they should feel the need for self-restraint, to allow listeners space to build their own houses of meaning around these orphaned sounds and furnish them with individual experience.
Diffused across 22 speaker channels and more than an hour in length in its installation form, Agna Rita is Thomas’s largest and boldest work to date. Even in its stereo CD version, the scope is striking. Yet although at times it confronts and challenges, there are no bombastic displays of power here. Instead, it welcomes in listeners on a human scale. 


Our Noise Agna Rita

------------Platohedro
--Live coded music
--to be kept as fixed sounds
--as part of HIPERSÓNICA, Latin American Tour
--with support from Ibermúsicas
--Medellín, March 2018

Dedicated to http://platohedro.org/ with love and thankfulness

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

Platohedro

four-dimensional oscillations to dive in

foto: Wild Anima
visuals: Faulty Agatha

between purple and blue (live Sep 2018)

Travelling to different places introduces us to new exotic soundscapes often dominated by pulsing rhythmic and static musical patterns. Frogland explores night-time field recordings from Florida and Brisbane which are dominated by crickets and frogs. A variety of sound design tools have been used to create this work such as spectral analysis and transformation and granular processing. 
I would like to thank composer Rick Nance for allowing me to use some of his Frog recordings for this piece. 
I was also inspired by Francis Dhomont’s fantastic work Signé Dionysos 1983-91 while writing this piece and I had a wonderful conversation with him about this work at the KLANG! Festival, June 2019 in Montpellier.

Commissioned by the University of Greenwich in partnership with L-ISA Immersive Sound Art to create a new work for their Ocean Surround Sound system in Highgate, London. 
This project was funded by the Higher Education Innovation Fund and I had the opportunity to works alongside project director Dr. Andrew Knight-Hill (University of Greenwich) and Paula Fairfield (Sound Designer for Game of Thrones). I would also like to thank Dr. Andrew Hill for organising this project.
Frogland is also an exploration of ambisonic workflow and working in Higher Order Ambisonics. Composed at EMS studios, Stockholm in September 2019.

Frogland

Static Love

Bandcamp Buy

Static is part of a commission from the IOU gallery written in April/ May 2020. The work was written for the Speaking Tubes installation in Halifax.

Image used courtesy of the IOU Gallery Halifax

Static

Cover

Home is part of a commission from the IOU gallery written in April/ May 2020. The work was written for the Speaking Tubes installation in Halifax.
Image used courtesy of the IOU Gallery Halifax

In a Still place

band camp Buy

Home

Macabre is part of a commission from the IOU gallery written in April/ May 2020. The work was written for the Speaking Tubes installation in Halifax.
I
mage used courtesy of the IOU Gallery Halifax

bandcamp buy

Macabre

Jo Thomas is an artist composer and creative musician based in London who works with live electronic and installation. Her work is published through her own imprint Soft Apple , Naxos, NMC recordings, Holiday Records and Entracte. 
www.jothomas.me