Eclectic Electronic Soundscapes -
I've always added this short note to all the playlists -
As with all the playlists, they are jumping off points to discoveries. They are not meant to be definitive. Just let some of the tracks play onto the next....follow up on "sounds like"....see who's following, many artists follow other artists....
but I thought I'd put it into practice myself.
I started with the first artist and then followed the sound trail to other connected artists. There is no preference on first choice or the sound trail but the playlist is always eclectic and it does give a chance for artists to be heard who may slip through the net : )
Beginning with Emma Margetson, artists are Savannah Agger, Meira Asher, Ros Bandt, Rocio Cano Valino, Norah Lorway, Ambiencellist, Jo Thomas, Mariam Gviniashvili, Patricia Bizzotto, Loo(p)cy, Giulia Deval, Hayley Suviste, Adele Franghiadi, Nikki Sheth and Elsa Jaeyoung Park.

Feminatronic #176 - Follow My Leader #11

Sonic Environment Waves

Listen back to all the Soundcloud recordings featured during 2016 on Making Waves playlists.

2016 Waves

International Women's Day 2017

International Women's Day 2018

International Women's Day 2019

- Catarsis Sinusoidal was premiere in the auditorium of Esnaola in Argentina (December, 2013). 

- It was selected in CALL FOR TAPE MUSIC #1 of PAS-E to perform a concert tribute to Luigi Nono's in Venice, Italy (2014) 
- It was selected in the MUSLAB Festival, Mexico (2014).
- It was selected in the FILE 2016 (Brazil)
- It was selected in Phas.e 2016 (England)
- It was selected in the Musinfo “Journées Art & Science” 2016 (France).

Catarsis Sinusoidal [2012]

This is from 2010 - commissioned and performed by Eclectica Trio (Amanda Lovelock, Anna Coleman and Charise Altmann).
The clarinets take on the role of storyteller for this piece – they growl like a wolf, squeal like a pig, and huff-and-puff with increasing vigour to blow the house down. Unfortunately, they do it all in the wrong language (“this contemporary music just sounds like random notes to me!”). Will you still be able to follow the story? Don’t stress, it all ends happily ever after.

The Three Little Pigs

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

String Quartet No. 2 in E minor by Connor D'Netto
recorded live @ MICMC 2015 - 18 Jul 2015

Winner of the Australian New Works Award, presented by Chamber Music Australia

Performed by the Noga Quartet, winner of the 7th Melbourne International Chamber Music Competition

String Quartet No. 2 in E minor - live @ MICMC 2015

Commissioned by the Silo Collective and performed by the Enigma Quartet, this is my recording of the world premiere performance of my String Quartet, "The First Movement" on November 17, 2015. 

String Quartet: The First Movement [Live recording]

Minimalist saxophone quartet recorded at Melba Hall at the University of Melbourne. 
The Jive is a lively piece in three sections. It employs minimalist techniques such as canon, adding rhythmic cells, cross-fading, resulting patterns and mensuration canon. Some of these techniques are used more freely than in strict minimalism. I experimented with different canonic textures and the resulting patterns created when shifting motives between the different saxophones. Motives in rhythmic unison as well as cross-rhythms are explored in the last part of the piece. Dynamic swells and funky rhythms make The Jive somewhat unpredictable…

The Jive

I. Suddenly for soprano, flute, and piano (A. Mellos 2014)
Madeline Cain, soprano; Daniel Pesca, piano; Caroline Sonett, flute
Live recording, November 12, 2014 Kilbourn Hall, The Eastman School of Music


I. Suddenly from 'Three Poems of Yannis Ritsos' - for soprano, flute, and piano

Levitas was written with the aim of inspiring and uplifting its audience. It's themes and harmonies are easily accessible to a wide range of listeners, and it was a thrill as well as a challenge to infuse this piece with enthusiasm and zest for life. 



Levitas for Brass Quintet

Opening section of work Chromoson - an immersive audio-visual experience

Chromoson

Jassa Joint

For Lyn Fuller, Premiered at the Canberra International Music Festival, May 5th 2016. Commissioned by the National Capital Authority.
MOON FIRE is inspired by a famous tale about a Belgian cathedral tower. Legend has it that on January 27th, 1687, in the town of Mechelen, a local looked up at St Rumbold’s tower and perceived it to be on fire. The townsfolk called the alarm and ascended the tower with buckets of water and anything they could muster to extinguish the blaze. Upon reaching the top of the tower it was discovered that there was no fire, but the blood red moon shining through the fog had created a mirage! Hence the Mechlians were jokingly referred to as Maneblussers (“Moon Extinguishers”) and even named a local beer after the legend.
Rather than the joke, my piece is inspired by the imagery of the blood moon, shining through the fog to create a sensation of an eerie sky lit by vaporous flames. Alarm bells are heard, and a panic of the people, but descends into an eerie fog-like mystical trance. The power of the moon could be perceived as dangerous, volatile, rather than benign.
Having lived in Belgium for a year, I wanted to dedicate this work to the Belgians who have had to face terror this year in Brussels airport and train station. May they always gather in strength to fight their fires.

Moon Fire for Carillon and Electronic Track

Tarhu Connections: Rapturous, by Ros Bandt @ros.bandt

For tarhu, air slide whistle, ancient bronze cymbals, recorder head joints, field recordings from Arizona from the Listen N biosphere reserve database, recorded by Leah Barclay.
A remix from a longer 8 channel work Raptor commissioned for the Listen N festival, USA.

'Rapturous is a fast ride with the Golden eagle Acquilla Chrysaetos  making its way from Joshua Tree Biosphere reserve to Beaver Creek, Arizona, USA where it was recorded.  The granulated eagle calls are stretched to represent the psycho-perceptual orientation of the eagle, solitary, looking down over the land. The tarhu is the eagle’s eye, a moving point through which we experience its strength, subtlety and economy in controlling the aerodynamic ride.  Listen with headphones. The eagle is a long way up.' - Ros Bandt

Tarhu Connections: Rapturous, by Ros Bandt

A metallic synthetic soundworld deriving from sounds of cymbals. 

Composed in 2015.

Cimbaal

Marlēné Claudine Radice is a Sydney sound designer and composer who specialises in notated electroacoustic composition. Previously, she has performed and recorded with the Sonic.Art Quartet, COUP Melbourne, Feminatronic and as one half of electronic duo Erwartung. Marlēné's has been commissioned as a sound designer and composer for Canberra’s National Museum of Australia in 2017 and Questacon in 2013.

Marlēné's soundtrack, titled 'Retrograde', connectedly explores abstract sounds and planetary motion. Read her description of the piece: 

"Retrograde motion references the movement of anything outside of the earths atmosphere that runs in a counter motion to the spin of the planet it orbits. In this soundtrack I wanted to experiment with how music made entirely out of reversed audio samples would be interpreted by a listener. The music is inherently unsettling as while we listen to sounds which are in reverse we cannot help but attempt to create meaning and order from sound that has been abstracted from its original form. " - Marlēné Claudine Radice

EHE 20.10.16 - Marlēné Claudine Radice (SYD) - Retrograde

'Bad Toys' is part of the 'Infantry' (2001) performance and album project with Guy Harries. It deals with Child manipulation and Child Soldiers. Sounds were recorded in various kindergartens in The Hague and then processed.

Meira Asher - Voice, Electronics 
Guy Harries - Electronics
Mixed by Paul Kendall

feat. "Guten Abend Guten Nacht"  by J. Brahms. 
Arranged by F. J. Brauer. Polydor records.

Infantry

Bad Toys

@2016 
Performed by the Briar String Quartet (Matthew Rigby- Violin 1, Navin Gulavita- Violin 2, Georgia Stibbard- Viola, Sage Fuller- Cello) 
Premiered at the Composer's Concert, St Stephen's Church Richmond, Victoria

Recorded at Sing Sing Studios, South Yarra, Victoria
Engineer: Aaron Dobos 

I always heard the phrase ‘The first step is always the hardest’.
Beginnings spark a potential energy, waiting to burst out. The endless possibility and avenues a road can lead is enthralling; blossoming new and dynamic waves. It’s exhilarating, yet restrained, not knowing where the road leads or how it will end.

This piece is my first step.

String Quartet No. 1 - "First"

What is 'space'? Where is 'nohwere'? How do we understand these concepts? How do we cultivate 'nowhere' and 'space'? These are questions that I considered when approaching this work. Into Ethereal Space responds to the exhibition title 'Nowhere=Space' by exploring contrasting peaceful, meditative sections and flurried rhythmic sections. This piece invites you to enter into a space of contrasts and to explore, contemplate and consider what 'nowhere' and 'space' might mean.

This piece was commissioned for the opening of 'Nowhere=Space' at 107 Projects. This is a live recording of the premiere performance, 11 July 2018.
Performed by Quart-Ed: Caitlin Sandiford, Sarah Qiu, David Tocknell and Karen Cortez.

July 2018.

Inside the Mosaic

Into Ethereal Space

Cicadas, Crickets, Birds, Pacific Ocean, Rain, Frogs, Toads, Didgeridoo.

In January 2012 I traveled to Brisbane to visit my parents, to the suburb of Arana Hills, North of the city, where I experienced a whole new soundworld. The birdsong, crickets and frogs presented a new sonic experience. Dawn and dusk presented more excitement in the parks and trees as the animals and birds competed against one another in order to be heard. The unique sounds and melodies of the Bell Bird and the Pied Butcherbird amazed me compared with the harsher calls of the Cockatoo and the Kookaburra. I was a tourist for three weeks and all I had to do was listen.
The field recordings are from the parks around my parents’ house, the suburbs of Brisbane, and further up the coast to Rainbow Beach, Hervey Bay, Fraser Island and the Eco resort of Lady Elliott Island in the Great Barrier Reef. In the parks in Arana Hills I was amazed at how nature and man could live together. Even though the parks were busy with people, wildlife was plentiful, evident by the sounds. I became conscious of how much destruction of wildlife occurs around the world as humans intervene in natural habitats, and animals are forced to find an alternative home. This transforms the soundscape of an area.
This piece is an investigation into the natural soundscapes of these places, an exploration of their geophony (wind, rain, water) and biophony (sounds of plants and animals). It also raises the issue of the impact of human sound, (anthropophony) on these soundscapes and how it can take over and mask natural sound. 
I would like to thank Callum Wheeler for playing the didgeridoo.

for two flutes, percussion, piano
Music X, Blonay, Switzerland
July 2010
Timothy Munro and Pethrus Gardborn, flutes
Jeremy Malvin, percussion
Erika Dohi, piano

These dark notes drifting takes its title from a poem by 9th-century Chinese poet Li Po.  Inspired by a Chinese folk tune, the piece evokes distant flutes, coloured by the sounds that one might hear across a valley at night in the spring.

Spring Night in Lo-Yang hearing a flute
In what house, the jade flute that sends these dark notes drifting,
scattering on the spring wind that fills Lo-Yang?
Tonight if we should hear the willow-breaking song,
who could help but long for the gardens of home?

These dark notes drifting

Matthias Bamert
West Australian Symphony Orchestra

This work was commissioned as an education piece, and is
designed to showcase the sections of the orchestra at the circus or at the zoo:
Brass (opening): fanfare, welcome to the circus/zoo;
Woodwinds: the monkeys;
Strings: the trapeze/the swans;
Percussion: lions and tigers;
Tutti, and brass fanfare to end.
The conductor may pause at each new section to introduce the instruments
of the orchestra, or may have the opening few bars of each section of music
played before performing the piece without pause.

Roar!

Untitled Requiem - excerpt

For solo soprano and SSAATTBB. Commissioned and recorded by The Australian Voices, 2012. Conducted by Gordon Hamilton.

Dedicated to William Duckworth and Jocelyn Wolfe.

Text:
DROUGHT

BY JUDITH WRIGHT

The summer solstice come and gone,
now the dark of the moon comes on.
The raging sun in his pale sky
has drunk the sap of the world dry.
Across the plains the dustwhirls run
and dust has choked the shrivelling tree.

This is my world that dies with me, 
cries the curlew in the night.
I have forgotten how the white
 birdfooted water in the creek
used in spring to call and speak.
All is fallen under the sun
and the world dies that once I made.

The strength that brandished my green blade,
the force uncoiling from the cell,
 drains like water from a wrecked well,
 says the dried out corn of the earth.
The seed I cherished finds no birth.

Now the dark of the world comes on.

Drought (choral)

Title: la grotta azzura (ambient mix)
Date: 2007, 2009 

Description: Ambient mix of 'la grotto azzura' (the blue grotto), originally created for AAIR Radio Ana Capri Remix competition hosted by the London School of Architecture in 2007. All samples utilised in the remix were recorded around the Island of Capri and provided by AAIR. Sound editing and composition/remix performed in Logic Pro.

​Competition judges included Brian Eno (UK) and Ryuichi Sakamoto (JAP/USA).  As there were too many good submissions, AAIR decided to not award only one winner. La grotto azzura was featured first amongst all international submissions published online. Remix Competition site now inactive.

IMAGE CREDIT: 'The Blue Grotto' by late Romantic Painter Heinrich Jakob Fried.

la grotto azzura (ambient mix) - 2009

Making Waves is a monthly series of curated playlists streaming one hour of quality, new composed music.  Founded in 2015, Making Waves shines a spotlight on the music of Australian composers. Fresh playlists are released on the first day of each month and older playlists are made available all year round via our archives; perfect for those with just a few minutes to explore one track or for hours perusing a myriad of diverse sound-worlds.


The project offers wider exposure to emerging composers, their music and the talented performers who champion it. We also provide an easy-to-access platform for listeners to sit back and enjoy a curated hour of exciting new music or explore our living composers more actively.  The playlist themes (and media through which they’re shared eg. Soundcloud, YouTube) evolve each month depending on the content received directly from our talented composers.

At its core Making Waves is a curated listening space. In 2016 we branched into producing our own content through a special project, Making Conversation, thanks to a successful crowdfunding campaign. Making Conversation: Australian Composers Project is a series of podcasts and vodcasts presenting the human side of living Australian composers, released on popular audiovisual and social platforms mid-2017.
Composers Lisa Cheney (Melbourne) and Peggy Polias (Sydney) are curating this project.

 Listeners, we encourage you to explore current and past playlists and discover more about our featured composers. 

Composers, we encourage you to send us links to your streamable audio via our website. Visit: www.makingwavesnewmusic.com for more information.

Tarhu Connections: Rapturous, by Ros Bandt

Making Waves New Music