From my new one out next week! (July 29).

dawn, always new, often superb, inaugurates the return of the everyday

overlooking the gardens, rhythms blur - from Dawn, always new, often superb...

Thai: พยายามข้ามทางหลวง ฉันได้เลี้ยวผิดที่และกลายเป็นว่ามาเจอวัวในทุ่ง


Trying To Cross The Highway I Took A Wrong Turn And Ended Up With Cows In A Field

Doi Saket sound map

Temple Ceremony/งานพิธีที่วัด -- part of Lost in Doi Saket soundmap

A Small Snail In The Rain/หอยทากตัวเล็กๆ ท่ามกลางฝน

Broadcast

Buy album Fabulations

I remembered it all somewhere near Glasgow -- from Fabulations on Soft

Wind turbine

A four channel hydrophone recording taken between two trawlers, one making a low slapping sound, the other a high leak. You can also hear a trawler being unloaded by a small fixed crane in the background, and some gulls.

Two trawlers, ólafsfjörður - Iceland sound diary

The Seagull Feeding Station Near the Fish Processing Plant - ólafsfjörður - Iceland Sound Diary

Recorded from the side of a mountain overlooking the town. 

Aqua aerobics class - Ólafsfjörður - Iceland Sound Diary

Climbing the stairs of the concrete factory - Ólafsfjörður - Iceland Sound Diary

Made from material gathered during the Biosphere Soundscape residency in Sian Ka'an Mexico. The cracking sound is a crocodile hitting the boat with its tail, the drones are derived from boat engines. 
This track was released as part of the Kollektive 1 compilation put together by the Iranian imprint Bitrot. It's free so you can get it here:
https://bitrotrecords.bandcamp.com/album/kollektive-1


Free DL via Bitrot

On Our Last Night We Searched For Crocodiles And Shooting Stars

This piece of audio is an Icelandic choir rehearsal recording taken in  ólafsfjörður church, rebroadcast + re-recorded underwater using an underwater speaker and hydrophones deployed from a broken down pier in the fjord of ólafsfjörður.

ólafsfjörður choir (underwater rebroadcast in fjord)

Siglingavisur (Icelandic sea songs by ólafsfjörður choir -- underwater rebroadcast in fjord)

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

I heard the dawn call to prayer in the Dubai Airport showers

Of varied salinities

Side A of a composition built from a sonic transect of a mountain in southern Spain. Out on tape November 15 at www.flamingpines.com. It can be pre-ordered now from the 'buy' link.

Ascent - From A Wind Turbine To Vultures (And Back) - out November 15.

This is my longest ever set at almost an hour and it is fairly different as it contains a lot of layers taken from material I composed six or seven years ago, which was cool because I realised I actually made some quite nice things back then! 
Recording courtesy of Berlin Festspiele. 
With thanks to Berlin Festspiele, Berlin Atonal and Camille Blake for the photo.

Set -- The Long Now, Kraftwerk Berlin, March 2018

I've played this set quite a few times this year now, but it was developed for the Flaming Pines Cafe Oto showcase with David Velez and Ben Finger.
It is intended to be viewed with a video I made, and you can see the whole thing on my vimeo here: https://vimeo.com/270959566
Not really sure how to describe it, it includes loads of images and parts of pieces and recordings from the past two years. 
It has been a busy time.

Set -- Flaming Pines Cafe Oto showcase, London, March 11, 2018

Brixton was my introduction to London when I moved here almost two years ago. I had never heard of Brixton before I arrived, nor had I spent any time in London. I ended up here simply because a friend of a friend knew someone with a flat. This document represents the ways I have come to know this district, and through it a little of the rest of London. 

My work has always begun with the soundscape, and Brixton offers a remarkable one. From outdoor markets, bicycle sound systems, shop stereos and buskers to booming car hi fi systems, sirens, car washes and people simply talking and taking up space on the streets, Brixton is a noisy place. It was through listening to Brixton that I also came to hear voices being raised about how much this area had changed, about rising rents and neglected public housing, about how many people who grew up or used to have businesses here can no longer afford to stay. I learned about the role of Brixton as a centre of Black British culture, resistance and musical production, as well as a location once known for its anarchist squats, and left wing activism. I learned about how, as Brixton has become increasingly gentrified, some of the sounds associated with Brixton's history and communities were being lost from this area. I began to hear some of the new silences of Brixton. I don't want to pretend that this release could ever be a definitive documentation of Brixton's soundscape, there are many far better situated than me to understand all the nuances of this area. This album is simply about the ways I came to know Brixton through listening, and the respect I gained through this process for the many struggles being waged in this district to maintain it as a community. This album is about arriving somewhere to find it in the midst of major upheaval in its social fabric, and about examining my own role in this as a new white Australian addition to the area. 

A soundscape reveals a lot about a place, through its presences, its silences, its rhythms and its pauses. A soundscape is forever being made by us all. It stitches us together in ways both subtle and sometimes overwhelming. I think in both its openness and fragility the soundscape can reveal something about the process of community making, and its sensitivity to change offers both opportunities and risks. 

Kate Carr, Brixton, London. 
credits
released March 9, 2018

I Ended Out Moving To Brixton - full album stream

I am here the next two weeks gathering sounds so I will put some up online.

Snow On Bridge Support Wire -- Saskatoon, Canada

This is a contact mic recording of two strange pipes that drain the highway.

Highway Bridge Pipes, Saskatoon, Canada

One of the weirder hydrophone recordings I've taken, all this sound happened after I tried skipping rocks.

Hydrophone recording, South Saskatchewan River

This is a mix I did for No Place Like Drone  featuring something from every FP release this year. A big thanks to Neil from No Place Like Drone, which airs monthly on Dublin Digital.
playlist
1. I ended out moving to Brixton - Kate Carr (excerpt)  (released March 9, 2018)
2. Love 1 - Trinh Minh ft Trinh Minh Hien (excerpt) from Emergence compilation of experimental music from Vietnam curated by Nhung Nguyen (released April 25, 2018)
3. The Sum Of Little Things - No Time (excerpt) from Emergence compilation of experimental music from Vietnam curated by Nhung Nguyen (released April 25, 2018)
4. Dean Clough C2 - Isnaj Dui - from Tiny Portraits Industrial series - portrait of re-purposed carpet factory, Halifax, England.(released June 18, 2018)
5. Portlands D - Michael Trommer - (excerpt) from Tiny Portraits Industrial series - portrait of abandoned docklands, Toronto, Canada. (released June 18, 2018)
6. The Things That Objects Can Tell Us About Ourselves - David Veléz (excerpt) (Released July 18, 2018)
7. 1896 (excerpt) - Siavash Amini and Umchunga (Aug 31, 2018)
8. Run Into The Waves - Broken Chip - Maybe Sometimes She Haunts (September 12, 2018)
9. Crossing The Wasteland - Gamardah Fungus (excerpt) (November 1, 2018)
Listen to the full interview here:https://www.mixcloud.com/DublinDigitalRadio/no-place-like-drone-071118-kate-carr-profile/

Flaming Pines end of year mix!

From the album The Thing Itself And Not The Myth
---------------------
First having read the book of myths,
and loaded the camera,
and checked the edge of the knife-blade,
I put on
the body-armor of black rubber
the absurd flippers
the grave and awkward mask.
I am having to do this
not like Cousteau with his
assiduous team
aboard the sun-flooded schooner
but here alone.
---------------------
From Diving Into The Wreck by Adrienne Rich
---------------------
An album made from sounds gathered underwater and along many shorelines. It is built from drones played by a synchronised swimming speaker broadcasting into a fjord, many spluttering radios, geese, and morse code.

There Is No One To Tell Me When The Ocean Will Begin -- out Nov 26 on Glistening Examples

EnCOUTnTErs - The Avian Speculative at Cafe Oto, July 25, 2018.
Also performing: Lee Patterson and Sharon Gal. 
Pic by Sonia Levy/SoundFjord
Recording: Hear and Now, BBC Radio 3.
July 25, 2018.

Set - EnCOUnTErs - Cafe Oto, July 25, 2018 - recording thanks to BBC Hear and Now Radio 3

This is an excerpt from a 36 minute piece for the Longform Editions label, a collective for deep listening. Came out a few weeks ago. 
------------------------
Artist notes: 

This piece is the result of nearly a month spent in the Canadian city of Saskatoon, Saskatchewan during Autumn. I was in Saskatoon to develop a new work and much of my time was spent wandering around this city, which I discovered was also referred to as the 'city of bridges' recording various bridges, as well as streetscapes, the South Saskatchewan River, and people vibrating various structures in Saskatoon, raised pavements, the bridges themselves, and this very cool and narrow pedestrian and train bridge. I have been interested for quite a while now in the ways people contribute sonically to the making of particular spaces, and so this was my focus here. In this recording you will also hear various recordings from cafes I visited in Saskatoon, and the soundtracks I encountered there, I should hat tip The Underground Cafe where I went almost every day. There is also the bass throb from one guy's car who stopped to pump out some thrash metal-ish sounding music, but from the outside all I could hear was this muffled thump, which I found quite hilarious and excellent and also there is a sample from the Saskatoon-based band Waitress, who are a very excellent band I met while there and who allowed me to use a snippet of one of their tracks for this piece. Apart from some very minor edits this piece was performed as it is live in my studio in Brixton, London using field recordings from Saskatoon alongside vibrating wires, strings, squeaking magnetic tape, a zither, shakers, a gong and an owl horn. It is based loosely on the performance I gave in Saskatoon for the Sounds Like Festival in October, 2018.

City Of Bridges (excerpt) out now on Longform Editions

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

A version of the soundscape produced by three balloon-assisted kite tail sound systems for the Air Matters exhibition, Waterman's Gallery, London 2019.

Ascending Composition 1 (For Planes) representative soundscape - Kate Carr

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

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