Amazing! I'll be sharing this in SR Listening Circles to help open our inner ears. Thank you!

Beautiful for mine evening. Like a healing👣👣👣👣

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

Tramonto

Moments. An Hour. A day. A Summer

This piece was made for the opening of the Radio Belgrade Electronic Studio on March 2 2018. 

This is my 1st recording of the real-time improvisation with EMS Synthi 100 + my computer setup.

Computer setup was based on the TouchOSC interface, Pure data patch and Ableton live. Improvisational dialogues between Synthi and computer were done through a dynamic interactive interface on my tablet and tweaking of the Synthi sounds live and playing with their parameters. I haven't used Synthi's sequencer (or a computer sequencer), but rather variety of key triggers, joysticks and envelope shaper trapezoids.

Due to a wide frequency range, it's not advisable to listen to this recording through a laptop speaker or similar.

This is my first use of the modular synthesizer in live performance and/or composition.

TV recording of the whole event: https://youtu.be/9tUwHGweUxY
(simultaneous performance in 2 studios of the Radio Belgrade with audience, live TV and radio broadcast)

Radio Concert No.1

Taken from the album 'Hence' released on LP and Download.

Hence

Oren Ambarchi & Jim O’Rourke with special guest U-zhaan 'Hence One' (excerpt) (EMEGO 249)

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

from DUO
by France Jobin + Richard Chartier
on mAtter, Japan
release date: Dec 16, 2018

DUO is the first collaborative project from minimal composer France Jobin and Richard Chartier.

DUO creates an “intemporelle“ and pervading atmosphere, where sounds intermingle within an intricate and delicate system delineated by spatial and temporal boundaries.

composed by  France Jobin and Richard Chartier.
mastered by Stephen Mathieu 
thank you to Yukitomo Hamasaki and Shuhei Miyagi
design by Richard Chartier

https://www.matter.jp/work/#/duo-france-jobin-richard-chartier/

DUO 1

Drift is a free fall album consisting of three compositions invoking a sense of hovering expansion. Deeply spacious yet tightly compacted sound movements create holding patterns that slowly shift and evolve.

Cycles fall in and out of sync while atmospheres envelope time, appearing on the periphery before being subsumed back into space. The compositions utilize modified alto saxophone with spring reverb attachment, synthesizers, percussion, field recordings and electronic processing.

The saxophone is played with an acoustic spring reverberation preparation to produce multiple feedback tones, pitch beating and metallic distortion. Using sampling and pitch shifting techniques, the instrument and its presence of breath act as the glue that binds the pieces.

Rosalind Hall - Drift - Cassette - PRE-ORDER NOW AVAILABLE

At the core of 'Everyone is here' lies Kajsa Lindgren's usual process, defined by one simple question: “How can you make something of your own by manipulating time and space?” The Swedish composer joins Warm Winters Ltd. after recent releases with Hyperdelia (WOMB, 2018) and Longform Editions (Undercurrents, 2019). 

This album's 20 tracks are based around archival recordings that Kajsa stumbled upon in her grandfather's old basement and around memories of places or sounds from her childhood. Slowly, the album moves through time, at first reinterpreting recordings from the 60s and 70s, eventually showcasing some of Kajsa's latest compositions for voice and field recordings. Some pieces utilise very specific recordings - “Trio for cello, piano and violin” is based on an audio snippet of Kajsa's “mother, uncle and grandfather making an appearance as a trio in Swedish radio sometime during the 70's” - while others - “Anna”, inspired by memories of the Lindgrens' family boat called Anna and the sensation of being rocked to sleep by the Baltic sea waves - are more related to memories, places or objects. 

But 'Everyone is here' isn't a mere timeline of sounds or melancholic dive into previous decades. The album is a meditation on themes of inheritance, family and closeness. The composer describes the process of collecting old sonic material as “comforting”, especially in relation to her relationship with her grandparents, parents and family friends. “[The process] has given me an intimate understanding of them as human beings. We’ve all been kids, becoming adults. Trying to figure out who we are, what we want, what makes us happy and sad in life. There’s a great sense of connection and humility in that.” 
credits

Full release arriving on November 15, 2019 

Composed and mixed by Kajsa Lindgren (@kajsalindgren)
Mastered by Sean McCann 
Painting by Jörgen Lindgren 
Cover artwork design by Richard Greenan 
CD and cassette design by Anne Lippert, David Stichling 
Photography by Hampus Andersson & from family archives

Everyone is here

Kajsa Lindgren - How it sounded in my mind

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

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

The Duo Ludwig Wittbrodt, that‘s Emily Wittbrodt on cello and Edis Ludwig on laptop and drums. The two develop a thicket of sounds and melodies that absorbs us in a completely unpretentious way and fills us with associations and warmth. Sometimes in the jungle, sometimes under water in the desert, we are reminded of the achievements of both Krautrock and Neue Musik, of early electronic music as well as Drone and Ambient.

At first glance, Emily and Edis seem to be an unequal couple. She has an academic background as a cellist, he is self-taught with his main instrument being computer and programming. She is active in Free Jazz, he drums with the rock band Düsseldorf Düsterboys. On the other hand, both have been active in the Free Improv scene in the German Rhine-Ruhr region for years - for example in ensembles such as The Dorf or Hilde (Emily) and Nasssau or Transport (Edis).

After some concerts and a first tour now is the time for the release of the group‘s debut album. Ludwig Wittbrodt will be released on cassette (yes, on real music cassette) and of course digitally. These four tracks, which evolved from a mixture of improvisation and joint composing, show the musical communication between Edis and Emily, but also the fun of combining moods, styles and instruments, which, according to our dusty listening habits, are surprising and irritating in a pleasant way.

Ludwig Wittbrodt

Ludwig Wittbrodt - Prélude, All Deserts Filled With Water

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/
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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)

morphaqin #1

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

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

katecarr

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