Love this - it draws me into listening to the texture of every (micro)tone, like a living breathing thing.

Beautiful sounds, inspiring me to get my violin (now sent from correct account - sorry!) :)

Demeures Aquatiques -  extr : 1’21’’ - 1967

This is a stereo excerpt of my multichannel installation "Zijlijn / Linea Lateralis". The installation is an exploration of the underwater soundscape of the North Sea. For this piece I recorded at the southern (mainly coast of Belgium) and northern (coast around Bergen in Norway) borders of the North Sea. 

The North Sea is the busiest and therefore loudest sea in the world. The installation researches the difficult relationship between biological sounds and man made noise. 

"Zijlijn / Linea Lateralis" was awarded an honourable mention by the 2021 Sound Of the Year Awards in the "Composed with Sound" category. 

More information about the piece can be found here:
http://stijndemeulenaere.be/zijlijn.html

Zijlijn stereo Excerpt

Rane Moore, Matt Gold, and Steven Gosling from Talea Ensemble performing OK Fantastic! March 2022

OK Fantastic!

Ojesjön lake, Sweden, freezing over with a whooper swan flying over

Ojesjon lake, Sweden, freezing over. With a whooper swan flying over.

Recorded on four channels nearby laggon under  Svínafellsjökull glacier south of Vatnajökull glacier in Iceland.
Two microphones are recording the soundscape above the  glacier lagoon and two hydrophones are placed in the lagoon.
More information will be found at http://fieldrecording.net


Above the glacier lagoon (Sennheiser MKH20 in AB40)

"Regnum Lapideum" (2016)

for seven musicians and electromechanical devices

Live Recording
Paris, Auditorium Marcel Landowki
April 29th 2016

Ensemble 2e2m
Pierre Roullier

Mauro Lanza / Andrea Valle - "Regnum Lapideum" (2016)

for string quartet and electronics

Paris, Centre Pompidou June 7th 2017
Quatuor Diotima

**********************

As a kid we had a television set with an antenna that rotated (you could rotate it from inside of your house). When the major channels would go off-air you could rotate it and pick up strange other channels from smaller cities around - from across the border, Buffalo and so on - and you would see strange things, that were kind of hard to see (there was a lot of static) and it was very intriguing to watch that kind of things. That was really the core, the crystal at the centre of this movie: my experience with that thinking “what if the images that you pulled up were really quite extreme, disturbing, possibly illegal, and what would you think then, would you keep seeking out those channels or would you call the police or what would you do, how would you respond to them?”

David Cronenberg on his movie Videodrome (commentary track of the Criterion Collection BlueRay)

The Max Headroom broadcast signal intrusion was a television signal hijacking (probably the most famous and certainly the longest signal hijacking ever) that occurred in Chicago, Illinois, United States on the evening of November 22, 1987. The signal pirates, whose identities were never found, succeeded in getting their broadcast intruded onto WTTW (a local Public Broadcasting Service television station).
The pirate broadcast, which lasted 90 endless seconds, featured an individual disguised as Max Headroom (a sci-fi computer-generated television character quite popular in the 80s, coming from dystopian near-future dominated by television and large corporations).
Around 11:15 p.m. an episode of the British TV-Series Doctor Who was suddenly interrupted by television static, after which an unidentified man wearing a Max Headroom mask and sunglasses appeared. The man started to moan, scream and laugh, uttering various random phrases (the audio was distorted and crackling), including New Coke's advertising slogan "Catch the Wave" while holding a Pepsi can (Max Headroom was a Coca-Cola spokesperson at the time). He then tossed the can out of sight, presented his middle finger wearing a rubber extension, sang an excerpt of “I’m losing you” (a 1966 Motown hit recorded by the Temptations), hummed the theme song of Clutch Cargo (a clumsily-animated television series of the 60s), moaned painfully complaining about his piles, farted, put on and off a giant glove (similar to the one worn by Michael Jackson at the time). He then partially exposed his buttocks, howling: "They're coming to get me!”, while an unidentified female accomplice wearing a French maid outfit started to spank him with a flyswatter. The transmission then blacked out for a few seconds before resuming the Doctor Who episode in progress.

“The 1987 Max Headroom Broadcast Incident” features a string quartet “enhanced” with transducers and preparations. 
The digital processing of the instruments is largely inspired by the same modulation techniques that were - and still are - commonly used for radio and television transmission. 
The piece, an hommage to obsolete or soon-to-be deprecated technologies and to the media-dominated, dark future that the “cyberpunk” sci-fi of 80s foretold, is dedicated to the memory of Fausto Romitelli.

Mauro Lanza - "The 1987 Max Headroom broadcast incident" (2017)

Site-specific music from the instalments of ‹Sounding the City› in Montréal and São Miguel. The ongoing project captures urban environments and re-imagines their soundscapes through public installations and acoustic interventions. | soundingthecity.com

vertical-music.bandcamp.com/album/sound…ity-001-002

Cassette, 60 min. Mastered by James Plotkin. Design by Nicolas Turki Duchesnay.

Sounding the City 001-002

Jen Reimer & Max Stein - Sounding The City (Excerpt)

"Music for Violin Alone" is my fourth solo album featuring compositions from Nicola Matteis Jr. (1720) to Angharad Davies (2020). Recorded in a make-shift studio in an empty house during the first week of April 2020 both as a response to all loss of work and a way to be heard again. The pieces on the album are the pieces I’ve come to discover and learn during the two years of maternity leave. Two years of maternity leave have also been two years of creative silence, a search for new approaches, repertoire and ways of playing. Only after finishing the recording process I realised there was a connection between the works - they have all been written by or dedicated to violinists-composers (with Oliver Leith being an exception) - J.S.Bach, Angharad Davies, Nicola Matteis Jr., Malcolm Goldstein (dedicatee of Cage’s Eight Whiskus and Tenney’s Koan).
The album opens with Circular Bowing Study by Angharad Davies - an exploration of a technique no matter how limited, it continues back through the ages with works that are filled with silence (Bach, Cage and Leith) and works with almost total absence of it (Tenney, Matteis), and closes with my own composition - broken harmonics of a string caught inside a ring.
It’s like a map of invisible violin sounds where past and present pathways are being drawn and redrawn over and over again until they are confined to a single technique or a broken sound or disappear into a total silence.

Recorded by Aisha Orazbayeva
Mixed and edited by Peiman Khosravi
Album cover photo by Scarlett Casiello
Album cover design by Paul Rafferty

Aisha Orazbayeva Ring

Spotify:  https://open.spotify.com/track/1TWmLq4Dyvph7Ump6T3p3K?si=7882ea9ef7314d7e
Apple Music: https://music.apple.com/tr/album/memory/1585557017?i=1585557018&l=tr
Youtube: https://www.youtube.com/watch?v=N9Qrjs6jAkU&ab_channel=Orix
Bandcamp: https://orix.bandcamp.com/track/memory

Follow on
Instagram: www.instagram.com/orix_music/
Twitter: twitter.com/orix_music

Memory (Demo)

New album out now: https://aishaorazbayeva.bandcamp.com/album/music-for-violin-alone

Aisha Orazbayeva Ring

Aisha Orazbayeva

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