Noxin&Senmove&Senglar - Ashes

Maxpatch by Noxin
https://soundcloud.com/nnoxinn

Paalmax

Improvising on contrabass recorder to acoustic jungle loops by Ned Haweeli.

Drum And Contrabass Recorder

Holobiont
for ensemble and electronics (stereo version)

Ensemble Collettivo_21
https://www.collettivo21.com/

Lorenzo di Marco – flute
Lorenzo Moretto – saxophone
Alberto Anhaus – percussions
Daniele Nava – piano
Alessandro Mazzacane – cello
Luca Guidarini – electronics


Recorded at Casa della Musica San Michele 
https://www.cdmsanmichele.com/

Holobiont

The music of Naarm/Melbourne composer Lisa Lerkenfeldt channels a unique wavelength of foreboding, interstitial electronics, incorporating strategies of musique concréte threaded with veiled currents of melody and hypnosis. Recent recordings for Vienna Press, Longform Editions and Aught Void have demonstrated different depths of process and finesse but her latest, Collagen, captures perhaps the most complete and complex manifestation of her craft to date.

Drawing on a disciplined palette of peach wood combs, contact microphones, piano, strings, and feedback, the album moves in low, looming arcs, ascending to strange purgatories of opaque atmosphere. Lerkenfeldt cites a core aspiration to “elevate the everyday,” transforming common objects into otherworldly sound sources, which colors Collagen with a beguiling tactility, like vibrations traced in sand. The tracks shift in frequency and feeling, alternately heady and bodily, acoustic and synthetic, isolated states of static, light, and undertow skirting the outer rings of ambient, noise, and modern composition.

Although each piece exists in its own rare air the composite panorama they present is striking in its sweep...  more

Credits:
Released August 21, 2020

All music by Lisa Lerkenfeldt
Mastering by Kassian Troyer at D&M
Design by Bartolome Sanson
Scores by Lisa Lerkenfeldt

Collagen

Gates Of Desire

Chiara Bacci/Nicola Lancerotti, Settembre

from KR113: David Wallraf - The Commune Of Nightmares
lim.ed. tape / download out on january 26th 2024

The Commune Of Nightmares

DAVID WALLRAF - He Bit His Tongue In His Sleep

pk cute seq

Clouded (old shit)

Our initial dialog with Synthia was an adventurous creative endeavour that made us question whether machines could have a soul. This one definitely spoke her mind, and left a fascinating mark on both of us as a wondrous machine––––––woman, a marvelous piece of engineering, an entity trapped in a modular eternity.

Considering that neither of us had any previous contact with such a complex modular system such as EMS Synthi 100, we took a somewhat intuitive approach. This is a fairly raw glimpse of the first days spent in the studio.

Oh, Synthia, we only just met...

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Happy birthday Mark!!!

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Composing, editing, patching & live mixing: Manja Ristić
Live mixing & patching: Mark Vernon
Cover art: Manja Ristić –– segment of the sculpture by Angelina Gatalica made in memory of Serbian painter Nadežda Petrović, erected in 1989 in the Pioneer’s Park, on the occasion of the IX Summit of Non-Aligned Countries.

basne——side A

The deeper I am investigating field recording as both artistic and listening practice, the more I become aware that each recording session is an intrusion into the landscape and that the landscape, whatever historical, biotic, or environmental system defines it – is sentient to my presence.

No matter how considerate my “intrusions” are, an abstract form of communication always takes place, and it largely depends on my ability to maintain this connection, which goes beyond the soundscape and sonic properties of the place. In this sense, my capacity to employ deep intuition and activate a specific neural architecture developed through a compound of skills also defines the recording process and its future aesthetic transformation. Thus, making a field recording fully personalized practice and soundscape composition a discipline of open interpretation, as well as a vast field for misuse and false representation. Regardless of an evaluation system, whether we contemplate an act of listening through scientific observation of one’s cognition event boundaries or through the capacity to comprehend the existential phenomenology of Zulu spiritualism, the possibility that two or more listeners can have the same listening experience is minuscule.

We are all deeply rooted in a diversity of psychological constructs; neural and sensory imprints, memory compounds, cognitive abilities, and many body-mind pathways determining our current psycho-physical state. Therefore, if the field recording practice is based on any form of active listening – it is a discipline based on interpretation.
With that in mind, I am asking: How do we approach the landscape of severe devastation and a dense history of warfare? Knowing that serious ethical and moral consequences are involved in the effort to interpret a particular soundscape.

In the work “ghosts” I am using obsolete instruments – a modular synthesizer built in 1970, a discarded wheelchair wheel salvaged from the Adriatic Sea, and the piano fallen in disuse which belonged to the Austrian conceptualist, filmmaker, improviser, photographer, environmentalist, and writer – Karl Katzinger aka John Tylo (October 1953 – April 2021). Next to these elements of the past and their voices rediscovered, I am incorporating hydrophone and field recordings from several locations appropriating them through the discourse of critical tourism and a culture of memory – more specifically through listening to the inherent memories of environmental devastation due to exploitation of natural resources as well as warfare – in the South Adriatic (Old town Dubrovnik and island of Vrnik), and the Czech-Austrian borderlands nearby of Mauthausen–Gusen concentration camps. 

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Instruments:
EMS Synthi 100
Wheelchair wheel salvaged from the sea
John Tylo’s old piano

Field recordings:
Dubrovnik – Stradun air conditioning units and collection of rubbish containers
Vrnik Island South Adriatic – crickets in an ancient limestone quarry
Adriatic dolphins *hydrophone recording by Robertina Šebjanič
Harrachstal village on Czech-Austrian borderlands – crickets in the abandoned granite quarry
Hydrophone recordings of the river Schwarze Aist
Train coming into Freistadt train station in Austria

All sounds performed, recorded, composed & edited by Manja Ristić
Some sounds gathered at the SHAPE + musikprotocoll residency, July 2023

Hydrophone used for an underwater recordings made by Jez riley French
jezrileyfrench.co.uk

Mastering by La Plant Studio
laplantstudio.com

ghosts

Manja Ristic

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