Your facility at placing beautifully sculpted sonic events in acoustic space - it's like Michelangelo and his marble.

Fascinating! Interesting journey through the dark.

impossible to describe how supremely refined these sounds are - I think in another life you'd be a Michelin starred chef

I feel a amaising theatre of sounds ! thanks !

Jay Campbell, multi-tracked cello, recording/mixing
excerpt from the middle of a 2 1/2 hour realization, 2020

Descensus Trio Jay's version (excerpt) 2020

Eaux mêlées (2021) 40’

Commande du Logelloù, centre d’exploration et de création à Penvénan situé dans les Côtes-d'Armor. Création en septembre 2021 sur le site remarquable du Yaudet au bord de l’estuaire du Léguer. 

 Un voyage acousmatique imprégné de l’odeur de l’estuaire et de ses eaux mêlées, celle de la vase, de la matière primordiale.
L’union intime de la terre et de la mer caractérise l’ambiance des côtes d’Armor. Il est impossible de distinguer avec netteté́ la limite entre la terre et la mer, entre les éléments solides et fluides. Les rochers, la mer, la rivière, l’estran, les herbues... s’articulent entre eux, la mer entre dans les terres par les estuaires. 
Avec des sons de Noëlle Deffontaines (sable, vase), Benjamin Dousteyssier (saxophone), Christine Groult, Marc Namblard (audionaturaliste), Lê Quan Ninh (grosse caisse), Ana Speyart(boue).

1 - Extrait - Eaux.mêlées - Becasseau - Sanderling 6'12

Fallow Recordings is pleased to present ")When what" by the adept artist Wodwo. 
Wodwo crafts narrative-driven musical collages using guitars, effect pedals & improvising. 
")When what" is a work of pure exploration & showcases Wodwos style in it's most minimal form. 

Think of noisy amplifiers, … herz hum… unresolved phrases…

Wodwo - )When What Decides

One track from the second release in the new SYM CD-series!
ILLUSION OF SAFETY - New Rules, Same Game, Less Instruction

buy: https://www.dronerecords.de/album.view.html?album=20793

info: Chicago's post- / ambient industrial legend is back with a work that combines electronic sounds and field recordings: microscopic audio events, loops, heavily processed material of all kinds form seven multi-layered collages that seem to be full of electro-magnetic static, morphing and transforming like a hallucinogenic object in every second and in all possible directions...in all it's subtleness this is far away from the shock treatment noises of the early IOS times. 
'New Rules, Same Game, Less Instruction' is the first release of new IOS compositions since 'Surrender' in 2015. Featuring extensive synthesizer source material as well as other now familiar electro-acoustic techniques, it is conceived as a follow up to the 1995 3” CD release of 'Rules Of The Game', alluding to the social, political, and psychological games humans engage in for validation, survival, or dominance. New Rules, same game, less instruction, harsher penalty. Illusion Of Safety now more than ever.

Mastering: THOMAS DIMUZIO / Artwork: DAN BURKE

Editions of 250 copies / 6 panel digipak with special b/w reverse board printing for the IOS

ILLUSION OF SAFETY - Malicious Intent

vital022
2022 élan vital recordings 

Manja Ristic / Toni Dimitrov - Dystopian 001

1. Manja Ristic - Nothing Has To Happen, Fortress Europe
2. Toni Dimitrov - Against Civilization

🏴 'Dystopian 001' is split release between the sound artists Manja Ristić and Toni Dimitrov, and it is part of the new 'Dystopian series', showcasing a more abstract, darker, obscure and politically infused side of the sound of élan vital artist roster. Inspired by everyday life in the last several years living in realized dystopian visions and darkest predictions, the sound on this series will be the soundtrack for our daily dystopian reality. We are all aware that the future of our civilization is not bright, but that doesn't mean we are not living in an exciting epoch.

🏳️ Part one brings two longer pieces, presenting the dark side of the mystical long form experimentations by the Serbian violin and field recordings diva Manja Ristić and the latest field recordings experiments of the sound art naturalist Toni Dimitrov. Through this joint release the artists are trying to explore the potential for change of the society, resulting in a mature, expressive and complex album. 

Composed and arranged by Manja Ristić & Toni Dimitrov 
Mastering LaPlant Studio Belgrade
Cover drawings by Dorian Dimitrov
Design by Toni Dimitrov

Release date 27th March 2022
 https://elanvital.bandcamp.com/album/dystopian-001

Manja Ristic - Nothing Has To Happen, Fortress Europe (excerpt)

A DAUNTING THING is a track from the cassette and digital release A RATIONAL WORLD (Numina Tapes, 2022).

A RATIONAL WORLD weaves field recordings, improvised music and climate activist statements into a fierce, joyful and poetic call to arms in times of ecological collapse. The music was created during the making of the experimental short film ANSAGE ENDE (vimeo.com/314525630) and was recorded inside an old barn on the farm of Gjalt Tjeerdsma in Beetsterzwaag, Friesland (NL). Both the film and this release dwell on the question how to live and fight in an ever more rapidly warming world.

“The seas are rising and so are we!”

This release features exclusive art work by artist Che Go Eun. The Limited Edition Cassette has its own exclusive design by the artist and was riso printed at Afreux (afreux.be).


REVIEWS

VITAL WEEKLY 1339
by Frans de Waard

That's a lot of names, and I assume a one-off project. During the recording of a short film, 'Ansage Ende', this group got together on a farm in the Dutch part of Friesland and recorded the ten pieces. Music and film are connected, even when the music is not necessarily the soundtrack (judging by the content, on vimeo...  more
credits
released May 23, 2022

The music was recorded at the farm of Gjalt Tjeerdsma in Beetsterzwaag. Field recordings were made during the Code Rood blockade of the NAM (NL), at the Hambacher Forest (DE) and in Friesland (NL). All material was recorded in 2018 for ANSAGE ENDE (vimeo.com/314525630), an award-winning short film by Sjoerd Leijten and Stijn Verhoeff.

Recorders: Verena Barié
Drums and synths: Gerri Jäger
Electronics: Sjoerd Leijten
Recording engineer: Malu Peeters
Field recordings: Sjoerd Leijten, Malu Peeters, Stijn Verhoeff
Editing: Sjoerd Leijten, Malu Peeters, Stijn Verhoeff
Mastering: Sjoerd Leijten
Cover art: Che Go Eun (chegocheck.cargo.site)
Riso printed at Afreux (afreux.be)

Released by NUMINA TAPES in 2022

A RATIONAL WORLD

Buy on bandcamp

A DAUNTING THING

for ensemble & electronics 

Paulo Amendoeira (percussion)Paola Aviles (harpe) Amélie Berson (flute) Phoebe Bognár (flute) Félix Lacquement (guitar) María Alejandra Jiménez (violin) Thierry Madiot (trombone) Mireia Pellisa Martín (saxophone) Carlo Sampaolesi (accordion) Adèle Viret (cello) + special thanks to Thomas Nicholson (Cage-clock-conducting)

commissioned by GMEA — Centre National de Création Musicale d'Albi-Tarn & part of the project 'experiences'

recording made at the Athanor, Albi, 06.08.2022
recording/ mixing by Benjamin Maumus, sound engineering at GMEA

for experiencers

Premiered by Riot Ensemble and Tyler Bouque. Conducted by Aaron Holloway-Nahum.
Commissioned by the Gaudeamus Foundation.

For Baritone, Soprano, Bass Clarinet, Trombone, Double Bass, and Percussion
no processing or fixed media (in the traditional sense)

consumed; teeth shut (2022)for Baritone, Soprano, Bass Clarinet, Trombone, Double Bass, & Percussion

The Exotic Malice Of Your Velvet Despair (atmosfera sanguigna)

Homo Machina is the first work composed as part of the suite Der Industriepalast. The piece is deeply influenced by the work of infographic pioneer, Fritz Kahn (1888-1968). Kahn’s most pivotal work was the life-sized poster “Der Mensch als Industriepalast” (Man as Industrial Palace) of 1926, which this piece is based upon.  Such is the inspiration of his work, it has influenced children’s anatomy books, comics (e.g. Numskullz) and even movies (e.g. Fantastic Voyage).

The visual crossover between industrialization and science in Fritz Kahn's artwork demonstrates the means by which human nature became culturally encoded by placing the knowledge of the human anatomy within the context of the modern, industrial world. Kahn produced lots of illustrations that drew a direct functional analogy between human physiology and the operation of modern technologies of the times. Therefore, by illustrating the body as a factory, Kahn was able to relate the body’s complex organic interior to the industrialized space so common in society during  the 1920’s.

As the work is intended as an introduction to a far longer suite, it is intended to provide an overview to the sounds that Kahn may have imagined as he was creating his remarkable graphics. It is therefore structured into 6 sections. 

Introduction: 00:00-00:21
Lungs: 00:22-02:03
Heart: 02:04-04:01
Brain: 04:02-06:05
Digestion: 06:05-07:59
Homo Machina : 07:59-10:07

Homo Machina

Track from:
Simon Whetham "Forced to Repeat Myself" CD

“When performing with a limited set of resources, through choices in materials to work with and the constraints of being nomadic, there can be a tendency to repeat actions and scenes that 'work', even when improvising and having to respond to each new situation in a unique way.”

One characteristic aspect of the touring experience that is not discussed often enough is the dilemma of repetition. Not repetition as a mechanism of the work itself, but as a tedious consequence of being obligated to perform night after night in quick succession. Generating a completely unique performance for each stop, even with the assistance of improvisation,  is a laborious undertaking that consumes too much time and sanity, while adhering to a rigid set of rules leaves one open to both burnout and diminishing returns. Is there a way to split the difference so that both performer and audience are always engaged to the highest standard?

“I set these constraints on myself. The need to produce something (at least a little) different in each event of a tour was fierce, especially when traveling with other musicians.”

Explicitly within the title itself of his latest CD, Forced To Repeat Myself, UK sound artist and composer Simon Whetham tackles these questions with both a sly wit and sincere inquisitiveness. The tracks, all collected from recordings documenting a 2018 tour, utilize analogous source material and means of execution.  Whetham paid particular attention to the contour and character of each venue when deciding how to best put the pieces together, offering a customization that subverts pure deja vu for a sharp observance of the unfamiliar.

“In each situation objects and materials unique to the space were incorporated into the performance setup and structure, generating sounds or resonating with them. And yet I could hear similar scenes, movements, even spaces. This repetition determined the dynamic of the composition, working with it and against it.”

By the very nature of their disseminating sparseness, the tracks of Forced To Repeat Myself demand from the listener an attentiveness fixed on nuance and variation. The amplified cracks and static of ethereal currents and anonymous electronics infer the works of others who’ve made it their mission to attune our attention toward sounds outside our natural perception, including Christina Kubisch’s electrical walks, Toshimaru Nakamura’s no-input mixer excursions, and Jason Zeh’s experiments with blank tapes and the mechanizations of his cassette players. Whetham’s shaping of the album’s source material to highlight certain exclusivities of each live performance emphasizes how the inherent dynamics of time and chance guide his self-imposed constraints into pathbreaking spectrums. 

“The title references a phrase many of us will have heard in our formative years, ’Why do you force me to repeat myself?’ I have no answer to this question. I never forced anyone to do anything. But with this work, I did.”

One inherent paradox of Forced To Repeat Myself is that each listen naturally manifests a distinct, individual experience. The way sounds are received and processed in one instance to the next each forget their own entryway into transcribing meaning from this abstraction. And Whetham is keenly aware of this as the sounds of Forced To Repeat Myself find consistent, unique ways to perpetuate themselves, ensuring any repetition to be delicately understated.

Forced to Repeat Myself

Forced to repeat Myself

Simon Whetham "08-11"

Louise Rossiter is an acousmatic composer based in Leicester, UK. Her research interests lie in acousmatic music composition and performance, acoustic ecology, silence, and expectation. She recently completed a PhD at the Music, Technology and Innovation Research Centre, De Montfort University under the supervision of John Young and Simon Emmerson, having studied previously under Pete Stollery, Robert Dow and Robert Normandeau. 
Louise’s music has been performed and broadcast around the world. In 2012 Louise was awarded first prize in the prestigious concours d’interprétation spatialisée de L’espace du Sons in Brussels and in 2015, her work Tout Autour de la Montagne was awarded a mention in the Destellos International Composition Competition. Louise’s music is released on the Xylem record label (http://www.xylemrecords.bandcamp.com).

Homo Machina

Louise Rossiter

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