The piece is based on magnetospheric sounds.
Audio data courtesy of CARISMA, operated by the University of Alberta, funded by the Canadian Space Agency.
Composed on May 2014 in London.

Somehow familiar

Ten years after his debut CD, Stone Blind (Intransitive, 1997), Howard Stelzer presents Bond Inlets, his first widely available solo cassette-tape composition. Stelzer, a Boston-based composer and sound artist, was never happy with his previous album and threw away most of the pressing as soon as it returned from the factory. He took the occasion of his label’s tenth anniversary to dissect the source sounds of that work and filter it through the lens of the interceding decade in order to build a piece that more accurately reflects what his intentions were then, and what his aesthetic is today.

Bond Inlets is a subtly emotional work of foreground drone that beats its head against the plastic walls of cassette-tape technology, laying bare the physicality of the process of its creation. The dying motors of ancient cassette players, tape-saturated percussion, and blown-out condenser-mic wail are mixed with elements of live tape improvisations and surreptitious field recordings taken in Stelzer’s neighborhood to create deep chasms of no-fidelity murk and evocative hiss. There is an implacable melancholy to Bond Inlets, with fragments of distant melodies that surface briefly only to be subsumed again into the grime.

“…a large expanded dread. Like walking into a cave, the further you go into Bond Inlets the more the darkness spreads and impenetrable it may seem. But there is a calm to this material that never moves into predictable explosions of noise. This is my favorite stuff by Stelzer yet!” – The Fader

“Stelzer knows and likes his noise, that much seems to be clear, but unlike so many noise makers around, his main effect is not the pure wall of noise, but rather a full wall of sound, with small events happening on all levels. A great work this one that shows a much more mature composer and one that has been constant refining his work over the last decade to cook up this master piece.” – Vital Weekly

“Stelzer’s drones come in waves, long and slow, while the other gestures are bitty, percussive and often shrill, and are given salient structural impetus by their silent framing. As a structural system, this has real depth, and it lends itself well to observation as one approaches it from different points of view… a haggard melancholy is all pervasive; in the fleeting half-melodies, the warm though foreboding bass drones, and the fetishistic hiss—all so many residues of a living whirlwind that devours the darkness.” – e/i Magazine

Howard Stelzer "Bond Inlets part 1 (excerpt)"

Recorded by Tama River Forest 
August 2011

The chirring chorus of cicadas

Drone1

Recording of bells in Ambeliona village
Summer 2010
(recorded with a Tascam DR-100, using its built-in microphones)

Several recordings from Ambeliona where compiled in a CD-R released by Triple Bath on 2012.

Bells Of Ambeliona

Giwrgos Poulios - Eof (Paris) - Live @ Mal au Pixel 5 - 20/06/2010

Giwrgos Poulios - Eof (Paris) - 20/06/2010

Mecha/Orga
"34:13_Ambeliona"
TRB.034 | 2012/11/05 | CDR

contents
1  34:13_Ambeliona (1)  09:55
2  34:13_Ambeliona (2)  10:05
3  34:13_Ambeliona (3)  08:35
4  34:13_Ambeliona (4)  05:39

total duration  34:13

field recordings took place at Ambeliona, in Peloponnese, during three consecutive summer periods (2010-2012)

composed by Yiorgis Sakellariou while being at Ambeliona, in August 2012

mastering & graphic by Themistoklis Pantelopoulos, October 2012
photo from Ambeliona, April 2011

Mecha/Orga - 34:13_Ambeliona (1)

Prix Paysage sonore - Field recordings - Phonurgia Nova Awards 2019
Autoproduction, Russie
Il s’agit du cycle complet d’une journée entière ramenée à une demi-heure, enregistrée dans la péninsule de Crimée au cours d’un voyage solitaire durant l’été 2018.  L’activité sonore des insectes(principalement grillons et cigales) est indexée sur la température ambiante : elle est un marqueur sensoriel de l’environnement et une horloge biologique. Cette pièce a d'abord été conçue pour une installation en octophonie.

Yulia Glukhova (née en 1989) est une artiste sonore basée à Moscou. Son domaine d’intérêt comprend la musique électronique expérimentale, l’art technologique et le Field Recording (l’enregistrement sur le terrain).

Yulia Glukhova : Ci(r)cadian Rhythm - Prix Field recording Phonurgia Nova awards 2019

Yiorgis Sakellariou is a composer of experimental and electroacoustic music. Since 2003, he has been active internationally being responsible for solo and collaboration albums, having composed music for short films and theatrical performances, leading workshops and ceaselessly performing his music around the globe.
His practice focuses on the communal experience of listening and the communication between composer, audiences, performance spaces and the rest of the physical and supernatural world. He only performs in absolute darkness, fostering an all-inclusive and profoundly submerging sonic experience.
He completed his PhD at Coventry University (April 2018). His research drew inspiration from ethnomusicological and anthropological contexts and explored the sonic symbolism and socio-aesthetic settings in ecstatic religious rituals in relation to field recording, electroacoustic composition and acousmatic performance.
Yiorgis Sakellariou is a member of the Athenian Contemporary Music Research Centre and the Hellenic Electroacoustic Music Composers Association. Since 2004 he has curated the label Echomusic

"The spectator is immersed in some sort of a place or state where his threshold of awareness becomes more sensible and acute: the listener’s hearing is induced to a very responsive level where both the universal and the particular can occur simultaneously"
(John McEnroe, Sonic Field – July 2012)

Somehow familiar

Yiorgis Sakellariou

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