So many wonderful sounds  put together so delicately. Thank you..

love to hear you play a set around christmass new years in cairns

These are outstanding field recordings and a calm, subtle ambience, assembled to great effort!

Your 2021 Playback

Anne-F Jacques/Takamitsu Ohta, Oto to Secchi

section of a sound work constructed from sound recordings made with\in a WWII bunker

2020-21

Les Horribles Travailleurs

Photo made during a recording session

WWII bunker - Sound work 1

KATELYN CLARK & MITCH RENAUD, Ouroboros, LP
Hallow Ground
Vinyl / digital, catalogue nr. HG2406
Ltd. vinyl / digital
Release date: 04.04.2025

On Katelyn Clark and Mitch Renaud's »Ouroboros,« astronomical and astrological phenomena, concepts and symbols such as the Great Year or the Eternal Return serve as the starting points for sonic explorations and experimentations. Focusing on a uniquely tempered range of frequencies, from low-end drone rumbles to airy pipe swirls, the duo develops a minimalist and highly evocative sonic universe on their debut album for Hallow Ground.

Working as composers, improvisers and curators in Canada's vibrant experimental and early music scenes, Clark and Renaud began developing »Ouroboros« through extensive improvisation with a reduced setup. Clark, who has worked extensively with historical keyboards since her studies in Amsterdam and Siena, played a small pipe organ modeled after a 14th-century instrument while Renaud brought a modular synthesizer and his interest in feedback systems to the collaboration. Later, the duo further refined their artistic dialog and the sonic interactions of the two instruments through the shared space of a two day recording session in Vancouver. Subtle crackling, acoustic beating and other (psycho-)acoustic effects in five pieces document this encounter, giving the music a profound physicality while hinting at the bodily presence of the two collaborators.

Just as the cyclicality of natural phenomena or the repetition of planetary movements is both a scientific fact and of the cultural imaginary, the sound worlds of »Ouroboros« are fundamentally rooted in time and space while transgressing the idea of a »here and now« through their conceptual links to geological and planetary time. The interplay of portative organ and modular synthesizer, which merge fluidly and in ever-changing ways, leads to a kind of circularity, a timelessness, a no-time. At the same time, the movements and subtle changes undermine the idea of repetition in the negative sense. After all, the Eternal Return, as Gilles Deleuze writes in regard to Nietzsche, is not the return of the same but a repetition of repetition. The only constant is change, the production of new intensities, of new forms of life – and of new frequencies.

Credits:
Music by Katelyn Clark and Mitch Renaud
Recorded and mixed by Aaron Klassen at Monarch Studios in Vancouver
Mastered by Stephan Mathieu (Schwebung Mastering)
Artwork by Laurin Huber

Ouroboros

Katelyn Clark & Mitch Renaud - Ouroboros (HG2406)

Italian producer and master synthesist Guido Zen has mesmerised my mind with his incredibly rich tapestry of sound since he appeared on the scene as Abul Mogard. He's got a particular sonic aesthetic that I tried [and failed] at replicating - something soft and slow-burning is rising and evolving into a velvety, faint and fuzzy vibration, perfectly sculpted to hold it all in one place. If there were just a bit too much reverb it all would be blurry, and if not enough, it would be just dry. And yet, in the hands of Guido, the frequency spectrum is dense and alive, "shaking kosmische synth fantasies into post-industrial ambience and blissful shoegaze memories." His most recent release with Rafael Anton Irisarri, for which I premiered "Place of Forever", was a fantastic example of all of the above, plus an amazing showcase of what a collaborative production may bring to the fans, combining Raf's distorted layers of bowed guitar with a myriad of perfectly saturated effects. On June 21st, Guido returns with yet another collaboration, this time with Berlin-based Dutch-Italian composer and sound designer Aimée Portioli, known as Grand River. Released via Caterina Barbieri's light-years imprint, this new work, which Guido admitted to me has taken him into new territories, is indeed yet another captivating dimension of a multi-faceted composition that truly unites both artists as one. Here, we are gifted with Aimée's strong sense of sensual organic soundscapes that develop into nearly overpowering tide crests, static washes, and serene expense, all carried by the widescreen cinematic tension and resolve in the hands of the fictitious synth factory worker. A truly enjoyable journey, which I hope you'll explore. I recommend turning up the volume a bit beyond your usual setting...

In uno spazio immenso

Sulle barcane

TRACK PREMIERE : Grand River And Abul Mogard - Sulle Barcane

COH - Fiat Sol (HG2477)

From the album Chronotopia out on June 6th 2025

One Day

Single taken from my forthcoming album 'Quiet Pieces', released on 30 May 2025
https://abulmogard.bandcamp.com/album/quiet-pieces

PRE-ORDER ALBUM

Following a dream

Coprfeel

Open Your Mind

Open Your Mind (ASMR Meditation)

Meditative tracks with more than 2 hours mix...

A meditative, spacey journey (part 3)

Early last year, Punctum finished recording their debut record, Remote Sensing, at the legendary EMS studio in Stockholm. After nearly a year and a half, the album is finally ready for public consumption. I have an oddly personal relationship to an album that is not yet released. I first got a taste of their work in a mix from Maria W Horn, which featured the heavy and hypnotic ‘Quick Botta’. This became a major go-to headphone listen. Strongly recommended for long journeys in the dark.

Technically speaking, a lot of the music on this record quite simple to describe. 303s, 606s and Buchlas dance around each other like an harmonic kaleidoscope. But listen to ‘Glory Bitch’ below. There’s a lot more going on here than simple synth meanderings, the likes of which every bedroom producer knows all too well. There is a meticulous care that has been taken in its entrance and exit. It’s like a set of opening credits, or an tuning orchestra, setting the stage for something huge, before snaking away into the distance. Fitting then, this should be the opening for one of the most exciting records in recent memory.

Remote Sensing

Premiere: Punctum - Glory Bitch [SUMME]

This year London has experienced several weekends of the hottest summer and that moved the Australian sound artist Kate Carr, whose practice is centred on articulating the relationship between people and place through sound, to point her microphone at the city. This volume is based on her recordings during a particularly hot long weekend in a corner of very busy intersection in London, where she resides now. In Heatwave, Carr is interested in both the serious and also the more prosaic aspects of soundscapes related to climate change. She investigated the throbbing summer music from her neighborhood, people’s efforts to keep cool, and the uneasiness which accompanies these everyday activities in this moment of environmental crisis. The way these pieces construct and compensate, with all the tangible sounds that fold into larger moods via multiple instruments, exemplifies her acumen in creating sonic stories that reflect our multi-layered experience of reality.

Humidity - from Heatwave out now via Hasana Editions

Taken from the album 'Peel' released as 2LP and Digital

Peel

KMRU 'Why Are You Here' (EMEGO 289)

DOB Gallery Belgrade October 13th >>> sound installation for the exhibition of drawings and paintings by Simonida Rajčević
http://simonidasimonida.com/

Strelice >>> Arrows >>> exhibition by Simonida Rajčević

Manja Ristić: Sonic Ontology of Negligence
7 Nov 2021–8 Jan 2021
FM exhibition, exhibition of 8-channel sound installation

7 Nov 2020 at 12.00 (noon) on FM 88.8 MHz – in-situ FM walk (at Park Tivoli)
10 Nov 2020 at 18.00 p.m. on FM 88.8 MHz – in-situ FM walk (at Park Tivoli)
18 Nov 2020 at 20.00 p.m. on programme Ars – radio exhibition opening

---------------------------------------------------
For more please point your cursor to:
http://www.steklenik.si/en/manja-ristic-sonic-ontology-of-negligence/
---------------------------------------------------

Sonic Ontology of negligence is a continuous research evolving from listening to abandoned places and landscapes reshaped by extensive intervention of human presence and exploitation, and eventually “given over“ to Nature to reclaim the space. In the process of conceptualizing Sonic Ontology of negligence, Manja Ristić resided in places that were heavily exploited and forever changed by the human urge to build, comprising thousand years-old quarries as well as present-day mega-structures, abandoned as a result of corruption and consumerist socio-political turmoil. The nucleus of the compositional structure is devoted to abandoned construction building site of the Stožice mega-structure, while layers of mnemopoetic sonic imprints are derived from an old lime-stone quarries from the island of Korčula in South Dalmatia, such are Glogovac, Lenga, Defora and Vrnik, but also abandoned mineral mines and lime pits from Fruška gora in Vojvodina, North Serbia, and other sites such is the military compound placed in the middle of the Avala forest in the suburbs of Belgrade. The poetical accent is given to the dynamics and textures of waters and aquatic micro spaces, which are building the formative/reproductive environments in the process of re-establishing bio diversities.

Manja Ristić graduated from the Belgrade Academy of Music and later also completed her post-graduate diploma in Solo-Ensemble Recital at the Royal College of Music, London. Besides performing in the field of instrumental electroacoustic music, her sound-related research is focused on an interdisciplinary approach to sound art, field recordings and experimental radio art.

Credits:
Artist: Manja Ristić
Curated by: Irena Pivka, Brane Zorman
Organisation: Irena Pivka, Katarina Radaljac
Translation and editing: Katja Kosi, Melita Silič
Public relations: Katarina Radaljac
Production: Cona, Institute for Contemporary Arts Processing, 2020
Venue: Steklenik gallery for sound bioacoustics and art, FM 88.8MHz, 3rd programme of Radio Slovenia – programme Ars

Exhibition is being part of the Acoustic Commons project support from the European Union’s Creative Europe program.

Manja Ristić: Sonic Ontology of Negligence (stereo version of an 8 channel sound exhibition)

New: 
A Field Guide to Phantasmic Birds
https://room40.bandcamp.com/album/a-field-guide-to-phantasmic-birds

Humidity - from Heatwave out now via Hasana Editions

katecarr

Recent comments

MadamMadnesS

ewa

shoko yano

Eric Petersen

Related tracks