Name: Red squirrel attacking microphone by Jono Gilmurray
Duration: 1 min 18 s
Description: A recording of a red squirrel attacking my Zoom H2 WAV recorder while recording on Brownsea Island (maybe it thought the grey furry windshield was an invading grey squirrel...?)

Good to see your training the red squirrels to fight back against the greys. It sounds like a filter tweak. Good see/hear that your life is more relaxed than those days at Envy.

I don't know how you got this but its amazing. its good to hear more organic sound in this world so full of manufacturing. stay cool Brother OWN

film music?  never really sure how to describe these things.  I was practicing different techniques on the guitar and the song kind of wrote itself as i recorded it...  I recorded some arpeggios on an acoustic guitar to the track at half speed and played it back at normal speed, thus doubling the speed of the acoustic...

King Of The Castle

just a binaural recording of rain at Mountain Lake Biological Station. Nothing really happens but it's pretty to listen to. Recorded with a Neumann binaural head. It will only sound correct with headphones.
all rights reserved


Fritz Rain (for Headphone Listening!)

http://www.liquidarchitecture.org.au/program/listeningtotheanthropocene/

Mapping out a range of eco-acoustic practices from field recordings to data and geo-sonifications, the talk explores imaginations of the natural world at a time of accelerating global environmental crisis.

Listening to the Anthropocene: Sound and ecological crisis
14 Dec 2015
Gertrude Contemporary, Melbourne

This talk explores imaginations of the natural world at a time of accelerating global environmental crisis; in an era currently being defined as the Anthropocene, a geophysical term “which recognises that human intrusion on the planet’s surface and into the atmosphere has been so extreme as to qualify our time on earth as a specific geological epoch”. It does so through mediums and methods of sound being used by artists, bio-acousticians and scientists to make sense of, and communicate, earth system changes. Mapping out a range of eco-acoustic practices from field recordings to data and geo-sonifications, the talk investigates how such practices seek to delineate, highlight, and/ or overcome, distinctions between natural and social, urban and rural, exceptional and everyday.
http://transversalgeographies.org/

Anja Kanngieser is Vice Chancellors Fellow at the Australian Centre for Cultural Environmental Research, with a background in geography and communication studies. Her work focuses on the intersections of political economy and ecology, sound and social movements. She is interested in the ways in which people strategise, antagonise and collaborate to create the living and working conditions they desire. Bringing into dialogue political economic theory with audio practices, she is engaged in the experimentation and invention of sound based methods in the social sciences. 
http://anjakanngieser.com/

Liquid Architecture is an Australian organisation for artists working with sound. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

Anja Kanngieser – Listening To The Anthropocene Sound And Ecological Crisis (Liquid Architecture)

Lots of material from Iceland, both my most recent and previous trips. Tracks from my Songs from a Cold Place album, and also new tape It was a time of laboured metaphors, as well as some unreleased material. 

Live set - Bello Bar - Dublin - 29.4.2016

Brandon Bell performers the solo percussion/ecoacoustics piece "Sonic Physiography of a Time-Stretched Glacier"

Sonic Physiography of a Time-Stretched Glacier

Excerpt from "Aven", released on Touch 26th August 2016

buy it here: http://touchshop.org/product_info.php?products_id=784
 
Artwork & photography by Jon Wozencroft
Mastered by Denis Blackham

Live at Volume, Los Angeles, 30th April 2016 as part of Touch Conference 

Track listing:

Descent 
Vision 
An Opening 
Canopy 
Low 

The word ‘Aven' refers to an underground shaft that leads upward from the roof of a cave passage.

Recorded with SoundField SPS200 & JrF C-Series contact microphones, Sennheiser ME64, Sound Devices 788T, Elektron Monomachine, RME Fireface UCX, and Cockos Reaper. Field recordings from Iceland, June 2015 and South Africa, November 2015. 

Strings performed by Bethan Kellough. 

Bethan Kellough creates sound worlds that weave together instrumental materials, sound design and ambisonic field recordings. Her composition ‘Aven' is based on a recording made in Iceland in 2015, which features the booming sound of underground geothermal activity escaping to the surface through a small shaft. “Looking down into the darkness, there was a sense that a whole world existed in an unknown space beneath. The sound world of Aven is a journey through such an imagined environment.” The composition is driven by this sonic encounter, but enters the imagined worlds beneath through the instrumental material developed throughout the work. These melodic passages predominantly feature violin, which Bethan has played since childhood exploring traditional Scottish music, rock violin, free improvisation and classical studies. The field recordings used in Aven were made in Iceland during the Wildeye sound recording workshop with Chris Watson and Jez riley French, and in South Africa during the Sonic Mmabolela residency with Francisco Lopez and James Webb. Each of the recordings explore a world of sound beneath a surface, reflecting upon the initial recording environment at the geothermal site. In South Africa, an approaching storm was heralded by wind blowing through bushes in the savanna, underneath which was hidden a Soundfield microphone. A contact microphone on a fence in South Iceland revealed the tones of the wind contained inside the wires, and in an Icelandic nature reserve the wind was also captured by microphones buried underneath a layer of grass – a miniature world sheltered by the strands of dry straw. 

Bethan Kellough (formerly Bethan Parkes) is a sound artist and composer. Her work spans across ambisonic composition, field recording, sound design and multichannel sound installation practices, drawing a focus on sonic spatial experience. Her works are designed to open out spaces with sound, exploring spatial aesthetics and the interactions between sonically and visually articulated spaces. The immersive sound-worlds she creates inhabit the boundaries between music and sound design, weaving together instrumental materials, sound design and ambisonic field recordings. 

She holds a PhD in Sonic Arts from the University of Glasgow. In 2015 she joined the Touch Mentorship Programme. 

Her works have been exhibited and performed internationally, including at Touch Conference, Los Angeles, USA; Gallery of Russian Art and Design, London, UK; Resonant Forms Festival, Los Angeles, USA; Borealis Festival, Bergen, Norway; Jardins Efemeros Festival, Viseu, Portugal; Spazio Bocciofila, Venice, Italy; The Global Composition International Conference, Dieburg, Germany; Symposium on Acoustic Ecology, University of Kent, UK; Sound Thought Festival, Glasgow, UK.


Excerpt from "Aven" - new release on Touch http://touchshop.org/product_info.php?products_id=784

recorded by sanderson & sanderson

field recordings by sharon sanderson (cornecraik)
gramophonics & keyboards by robert sanderson

Music For Bat Detector & Gramophone (sanderson & sanderson)

A recording of a red squirrel attacking my Zoom H2 WAV recorder while recording on Brownsea Island (maybe it thought the grey furry windshield was an invading grey squirrel...?)

Red squirrel attacking microphone

Test Polyphony  [2013] Multi-source composed sound installation.  Test Polyphony was the culmination of A Place for Art residency for the National Trust at Mottisfont, Hampshire.  This is a long stereo pass, it features Kokoro (Bournemouth Symphony Orchestra’s New Music Ensemble) and a choir of National Trust volunteers.  This is a short stereo pass of the installation.
For further information go to www.hyweldavies.co.uk/installations.html

Test Polyphony

PILGRIM is a new sound installation by British composer and sound artist Hywel DAVIES installed at Mottisfont Abbey (National Trust) in Hampshire, UK.  It features Japanese virtuoso percussionist Kuniko Kato and English bass baritone Laurence Williams.  It opened in January 2020, but because of COVID-19 the work is not currently accessible.  Although the piece will run until autumn 2020 this is an opportunity to hear the work.  The sound is broadcast from speakers embedded in four hemlock tree trunks sited within the Beech Circle, a circle of mature beech trees 35m in diameter.

The principal element of PILGRIM (playing here) is written for percussion and bass-baritone. The sung texts are by German romantic poets, Goethe, von Leitner and Schlegel, and by Tennyson.

Mottisfont Abbey is a location long associated with pilgrimage.  The abbey housed the holy relic of one of John the Baptist’s fingers, making a destination for pilgrims, and it was also a stopping-off point for pilgrims between Winchester and Salisbury.  Today, Mottisfont’s celebrated rose garden is the reason that many visitors make their journey.

The new work taps into the experience of the pilgrim where the journey, rather than the destination, is at the heart of the experience - leaving behind the distractions of familiar surroundings, allowing time for reflection, chance meetings, and unexpected detours. 

Musicians
Kuniko Kato – marimba, vibraphone, tree trunk drum,
large temple bowl, temple block, wood blocks.
Recorded at Lake Miyagase Hall, Kanagawa, Japan, May 2019.
Sound engineer Yuji Sagae. 
Tree trunk drum made by Osamu Ishikawa
www.kuniko-kato.net

Laurence Williams – bass-baritone.
Recorded at Orchard Studios, Barton St David, Somerset, UK, June 2019. 
Sound engineers Charlotte Worthy-Jarvis and James Wilkes.
www.laurencewilliams.org

The creation of PILGRIM was supported by Arts Council England, The National Trust, The Daiwa Foundation, The Toshiba International Foundation and Monitor Audio.  Special thanks to Phil Smith.

Red squirrel attacking microphone

Jono Gilmurray

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