Choral

Great Horned Owl Duet at Canaveral Seashore
Recorded during the night in the woods close to Leeper House.

MS Setup Schoeps CCM41+CCM8 
in a Cinela Pianissimo suspension/windscreen
on a Sound Devices MixPre6
Original recording in Wave 96kHz 24bit
Done during a residency at ACA Soundscape Fieldstation at Canaveral National Seashore in December 2021
GPS: 28.9035710, -80.8172030
Sound Ref : FL-211203-013

Great Horned Owl Duet at Canaveral Seashore

Anderson Chimutu is a first generation Malawian American who resides in the city of South Bend, Indiana. Growing up near Chicago and Detroit, Chimutu was exposed to many legends of the regional music scene. This influenced him to get involved with various instrumental bands and djing. Now he focuses on solo productions, which integrate the use of granular sound processors and drum machines. This new approach, coupled with the desire to represent his African heritage, has given birth to Fumbata Phiri. His first offering as Fumbata Phiri came in the form of 2020's "Decoherence", released on the Hungarian label Exiles. He followed that up with "Equipoise", released on UK label Hard Return, "Actuation" on released on Eternal Search in 2021, and now in 2022, "Liminal Space" releasing on Chicago label, Reserve Matinee ran by Michael Stumpf (FAITHFUL) and John Daniel (Forest Management). Chimutu wants to challenge the narrative surrounding African influenced music, and does so by creating what comes naturally to him. Putting forth an extension toward the future, while being cognizant of the history that has brought him to this point.

Justin Tripp and Brian Close as GEORGIA (OOH Sounds) - Story Scene 0:00
Evil Medvéd - (0_0) 4:56
Noémi Büchi - Battering Times 6:38
Joane Skyler - wink 9:37
Hiro Kone - Malady of Duration 11:27
William Fields - riveru 15:57
NZFE - FENZ_pict_test4 20:24
Fumbata Phiri - Pios Plurality 23:57
Daphne X - I can see right through me 34:24
FRKTL — Locations For An Immaterial Essence 36:28
Klpflrtr - Random 44:35
Alley Catss - chew 46:21
Yokai Kai - phonktech 48:40
Justin Tripp and Brian Close as GEORGIA (OOH Sounds) - Story Scene - Zipf's Code 50:52
ISSHU - Under the Pink Sky 54:40
Blood Room - Sun Pulse 58:23

https://soundcloud.com/fumbataphiri

♥ 32 - Fumbata Phiri - Absolute Elsewhere

空を見たら、所々に散らかっている野花の赤、紫、黄色のようにあちこちに飛び交っている。~  Looking to the sky, one can see them flit here and there, like the reds, purples, and yellows of wild flowers scattered here and there.

Umé Records presents the new album from Carlos Ferreira (@carlos-ferreira-sounds) "Sad Loops", out May 15th, 2022.

Listen: https://umerecords.bandcamp.com/album/sad-loops

ume014

Download

Carlos Ferreira ~ Sad Loops (snippets)

This track released for the open remix project by :zoviet*france about his new soundwork "Hidden-by-the-Wall" commissioned by Green Croft Arts as part of its Collision and Conflict project.

More on :zoviet*france:
soundcloud.com/zoviet-france/sets/hidden-by-the-wall-open-remix?fbclid=IwAR23eVCF-8yRxJ3BPAw3kh5poKlArMhxfqr8chJf62vwLgqG1_yf2JoEYXo

More on Collision and Conflict:
www.greencroftonthewall.com/collision-and-conflict

The recordings are made available under creative commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) (creativecommons.org/licenses/by-nc-sa/4.0/)
Inside Ice Wind Fence, Oak Leaves Dropped Into Horsetail Ponds At Walltown Sur Rêve Par philippe neau est concédé sous licence via une licence Creative Commons.

Hidden by the wall (3)

Gl00m w/ Petteril | Root Radio 30/06/2022

@edv3ctor @joe-gilmore

TRACKLIST:
        • Robert Barry: Otherwise (excerpt) (Otherwise, Van Abbenmuseum)
        • a0n0: Sun Cloud (Calopteryx atrata, Fals.ch)
        • Kindohm: Starter Pack Meme (Starter Pack MemeNew York Haunted)
        • Voronoi: SPHERO 2.0 (Vis-Viva, OOH Sounds)
        • Sebastian Camens: Painted Bronze (Asymmetry, Nada Recs)
        • Noxin: TBC 08 (Back Latent Crook, incoming call)
        • Serwed: Initial 3 (Serwed 3, Anwo)
        • Blessed Initiative: Vile Value (Blessed Initiative, Subtext Recordings)
        • ßret Schneider: Crønø branch.Y2 (Motheaten/unusable) (Autoregression, Deadstock)
        • Joe Beedles: L-frame (Superpang)
        • WEȽ∝KER: hinteroj (GULP, Conditional)
        • Atte Elias Kantonen: Sheet Musick (POP 6 SUSURRUS, Mappa)
        • Chang Park: RS (Repetition Without Repetition, dingn\dents)
        • Dsic: Untitled 5 (Tiamat/Taniwha, self-released)
        • Flaty: Railz (Railz, Anwo)
        • William Fields: Xolor (Bokuseki, Evel Records)
        • Autechre: six of eight (NTS Sessions, Warp)
        • Serwed: Scruff (Serwed 3, Anwo)
        • OL / Denis Kaznacheev: the media (signs (impact), Anwo)
        • Apex Twin: 291E Buchla Talk 1
        • Marcin Pietruszweski: PSRson(forJBB) (The New Pulsar Generator Recordings Volume 1, Fancyyyyy)
        • Ryu Hankil: Rain Drop Meditation (Rain Drop Meditation, Amplify 2021)
        • Deli Kuvveti: Grim Calculators (Machines Have Their Own Agenda, Evel Records)
        • 3129152020: Kant2Source (self-released)
        • Michael Speers: SUL LOCUS (xtr’ctn, C.A.N.V.A.S.)
        • Yab; Yvanko: Hydré (Biome, OOH Sounds)
        • Pent: panic compress (Glue, self-released)
        • Expedient: E0002 (R18-16, Entangled Visions)
        • Lawrence Weiner: Nothing to Lose (excerpt) (Niets Aan Verloren / Nothing to Lose, Van Abbemuseum
        • Robert Barry: Otherwise (excerpt) (Otherwise, Van Abbenmuseum)

social schemata w/ Joe Gilmore - 10.07.22

First go with soundbrain, testing a new Intel build. Madness. Added to the brain - some sounds from Betty Apple.

More info - (and we're keeping track as they squash some cross-platform issues!)

https://cdm.link/2022/09/free-sample-mashing-with-samplebrain-by-aphex-twin-and-dave-griffiths/

soundbrain mangling

5 nov 2022

Gear used: 8raw8 (808 drums), Korg Monologue (bass), Roland System-1M (melodic lead), Audiothingies Micromonsta 2 (pad) and Squarp Pyramid (sequencer).

tensity

A combination of interviews, field recordings, original compositions made in collaboration with @franciscomorganmusic and Ankit Suri woven together with experimental electronic sounds from artists from the Middle East and North Africa in order to shed light on the political situation in these countries.

Aired as a Guest Show on Refuge Worldwide, Berlin on 14/11/2022.

For those who do not know them yet: Refuge began in 2015 as a fundraising platform working in solidarity with grassroots and non-profit organizations across Berlin.

Refuge Worldwide radio was launched in 2021 to amplify the music and issues that we care about, broadcasting remotely out of Neukölln.

They are a non-commercial independent platform, amplifying voices and creating unity in the community.

If you are able to, please consider supporting them via Patreon : 100% of Patreon funds are now donated, until Dec 31st 2022 to Lilipad: patreon.com/refugeworldwide ❤️

Tracklist:
00:00-03:52 - Intro by Sara Rahman
03:52-12:16 -   Sary Moussa - Figure 
12:16-15:44 -    Douma Jarrar - Batn ilHam 
15:44-19:44 -   Asma Ghanem Miller - El Watn + Under a navy sky & a Black Sea 
19:44-22:24 -   Sary Moussa - Distance 
22:24-22:56 -   Under a navy sky & a Black Sea 
22:56-27:28 -   Jad Atoui - The ear 
27:28-35:44 -   ZULI - X3&Trigger Finger
35:44-42:40 -   Francisco Morgan and Sara Rahman jam 
42:20-51:04 -   Sary Moussa - South 
51:04-54:16 -    Francisco Morgan and Sara Rahman jam  
54:16-59:36 -   Ankit Suri and Sara Rahman original composition for ‘To Have a Lover’ short film (mixed by Francisco Morgan)

Refuge Worldwide 14.11.2022 Guest Show

TDA038 - Soprano Laments 'Gliss'

O Magna Vasti Creta is the first section of a work-in-progress, Ariadne of Knossos, exploring the pre-Hellenic origins of the Ariadne myth. I have used lyrics from several languages, which reflects the many different strands of the Ariadne myth. This piece is an evocation of the power, majesty, and mystery of Ariadne before her eclipse by the conquering Greeks.

O Magna Vasti Creta

Minos, for tenor soloist and mixed chorus (SSAATB, is the sixth section of a work-in-progress, Ariadne of Knossos, a piece exploring the pre-Hellenic origins of the Ariadne myth. I have used lyrics from several languages, which reflects the many different strands of the Ariadne myth. This section is an evocation of the bull, which was sacred in Crete before the Greeks conquered it.

Minos

"Ceremony of the Bull" is the third section of a work-in-progress, Ariadne of Knossos, which is a theatrical musical piece exploring the pre-Hellenic origins of the Ariadne myth. It is for mixed chorus (SSAATB) and string quartet. I have used lyrics from several languages, which reflect the many different strands of the Ariadne myth. This section is an evocation of the bull, which was sacred in Crete before the Greeks conquered it.

Ariadne of Knossos

Ceremony of the Bull

"Call of the Dance," for soprano soloist and 8-part women's chorus, is the second section of Ariadne of Knossos, a work-in-progress, which will be a theatrical musical piece exploring the pre-Hellenic origins of the Ariadne myth. I have used lyrics from several languages, which reflects the many different strands of the Ariadne myth. This refers to the ancient tradition of all-women choirs, many of which also incorporated movement.

Call Of The Dance

The Crane Dance is a dramatic solo for soprano and women's chorus describing the holy dance of Crete. In ancient Crete there was a form of choral dance using choruses of girls who accompanied dancers, called the hypercheme, in which a dancing and gesticulating chorus was reinforced by a stationary group of singers. There are no dancers in this piece, but the singers describe a dance. The piece starts fairly serenely and builds in intensity as the dancing becomes more frenzied, which is reflected in the choral accompaniment.

The Crane Dance

MARY JANE LEACH is a composer/performer whose work reveals a fascination with the physicality of sound, its acoustic properties and how they interact with space. In many of her works Leach creates an other-worldly sound environment using difference, combination, and interference tones; these are tones not actually sounded by the performers, but acoustic phenomena arising from Leach’s deft manipulation of intonation and timbral qualities: “an acoustic Through the Looking Glass world based on sound that the performer is not making.” (The New Yorker).

Call Of The Dance

mjleach

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