A dual contact microphone recording of a temporary wind harp.

Recorded 15 February 2021 at Walltown Crags, Northumberland, UK.
54°59'24.0"N 2°30'46.0"W
Google Maps: https://goo.gl/maps/GLVb4qVRaCbDXk8y9

Part of the Hidden-by-the-Wall Open Remix project:
soundcloud.com/zoviet-france/sets/hidden-by-the-wall-open-remix/

© 2021 This recording is 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/)

Wind Harp, Walltown Crags

Cor Ardens 06 "Der Schimmel" Kostas Kefalianos released April 2021

“Der Schimmel” lays out a hermetic and gem-like study in voice, tape and electronics across two side long compositions. Poem-fragments mold and gather into a sonorous mesh. The compositions echo in organic repetition while some integral part of its inferred world refrains from emerging in full. Recorded as the artist was adjusting to a recent move to a new country, and learning a new language. Der Schimmel, exhibits the amplifying fruits of immersion; a stage precariously revealed in it's pull between the familiarity of home and the grafting of new roots.

more info Corardens.net

Kostas Kefalianos "Zuhause ist wo sie schläft während des Blumentodes"

Sara Oswald & Feldermelder - Dual | Duel
Cat #: OUS038
Release date: July 7, 2023
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«We find ourselves venturing into the depths of a rugged terrain. In our hands, we hold stones and minerals, each possessing its own distinct texture, weight, and sonic potential. It is through the artistic touch and through the musical instruments that these earthly treasures, once dormant, are awaken to life.» — Sara Oswald + Feldermelder

The 3rd collaboration of prolific cellist Sara Oswald and electronic musician Feldermelder evokes captivating sensations that oscillate between impending doom and hope. The albums’ sonic journey is highly immersive, transporting the listener from one cerebral landscape to another. The transformative nature of metallic elements being integrated in sustained orchestral tones weaves the sonic tapestry, resulting in a captivating experience for the listeners. The organic sounding — reminiscent of minerals’ timbres — brings a touch of brightness and a distinctive edge, while the orchestral harmonic structures lend a sense of grandeur and continuity. The origins of this music remain enigmatic, while the tracks of the album gradually unveil concealed aspects and the hidden truth.
One can step into a realm where melodies are reborn, as Sara Oswald’s cello spins tales and emotions burst forth. Nature’s eternal splendor intertwines with the essence of music, as she infuses harmonies with the soul of mountains. Vibrant hues come alive with delicate strokes, and cascading notes resonate with a select few. Feldermelder conjures profound echoes that swirl like ancient whispers of the earth’s primordial past. He sculpts textures, from fragmented glitches to expansive atmospheres, that warp the fabric of reality. The two musicians merge together harmoniously, blending the acoustic and electronic worlds into a transcendent unity. This fusion of contrasting elements adds a unique and intriguing quality to the music. The cello’s warmth merges with pulsating electronic beats, creating a symphony of contrasts and sonic upheaval. Each composition is woven in intricate layers, combining electroacoustic architecture with delicate precision. A subtle balance of chaos and control permeates the music as it meanders through the labyrinth of the mind. The soundscape unfolds like a grand tapestry, distant echoes murmuring like grains of sand.

Trained in baroque cello and advocating improvised music, Sara Oswald is the perfect match for sound artist and electronic musician Feldermelder. She plays solo, composes for film and theatre and collaborates with musicians like The Young Gods, Pascal Auberson, Sophie Hunger and Julian Sartorius. Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founders of -OUS and part of Encor.studio, a collective of artists who specialise in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

CREDITS
Written by Feldermelder & Sara Oswald 
Produced by Manuel Oberholzer
Mastered by VFBM
Cover Design by Isaak Rickenbacher

https://ous.ooo
OUS038

Dual | Duel

Buy on Bandcamp

Sara Oswald & Feldermelder - 1 - Transpersonal Source

Anne-F Jacques/Takamitsu Ohta, Oto to Secchi

https://noir-age.bandcamp.com/album/m-rka-moln

Mörka moln

slept well

@noemibuchi - Matter
Cat #: OUS041
Release date: November 25, 2022
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

"Music gives us the illusion that time is not time, but space. It is then that the music transforms from process to object, which I find a very interesting thought; a materialisation of the sound process. Sound is matter." - Noémi Büchi

Noémi Büchi’s debut album ‘Matter’ captures the tension between growth and decay, consonance and dissonance, mirroring Büchi’s own catharsis through music. Her most personal material to date, ‘Matter’ is an opus of refined, sculpted beauty, one that aims to blur the distinction between ephemerality and physicality. Inspired by late romantic classical music and early 20th century contemporary music, ‘Matter’ is driven by the compositional methodologies of Igor Stravinsky, Alexander Skrjabin, Gustav Mahler and György Ligeti to modern sound forms, adapting and expanding upon their ideas in an awe-inspiring exploration of cutting-edge potency and tactility.

Büchi structures the electronic works that constitute ‘Matter’ in movements, stratifying myriad instrumental parts like the constituent sections of an orchestra. During her work on the album, Büchi engaged in extensive research, obsessively studying specific chords and progressions, and searching for transcendent intonations with resonant properties; complexions of sound with the ability to connect with the listener’s body. Transforming our inner worlds into zones of suspension and levitation, Büchi exposes the listener to intoxicating slipstreams of sound. Prominent voices ascend, tectonic disturbances threaten the foundations, perception and sensation becomes subject to elemental countercurrents and inversions. ‘Matter’ illustrates the fraught pursuit of momentary equilibrium, and makes the fragility of euphoria tangible.

CREDITS:
Written and produced by Noémi Büchi
Mixed and Mastered by Manuel Oberholzer VFBM
Photography by Jean-Marc Avila
Photography / 3D reworked by Mirko Eremita Encor Studio
Graphic design by Alfio Mazzei

BIO:
Composer & sound artist Noémi Büchi creates electronic, symphonic maximalism. Her music is defined by delicate electronic-orchestral forms and textural rhythms. She strives for a combination of harmonic and dissonant sonorities, to evoke both intellectual and emotional euphoria. Büchi has appeared on the Light of Other Days and Visible Dinner labels, and is now an affiliate of -OUS, releasing ‘Hyle’ her debut EP on the label in spring 2022. As well as her solo output, Noémi Büchi is currently working with Feldermelder on their collaborative project Musique Infinie. Their debut album will also be released via -OUS in the near future.

Noémi Büchi - Matter - 3 -  Causes Of Forgetfulness

The Soundscape Speaks - Soundwalking Revisited (2021)

"The sound environment has much to tell us about the coming climate crisis. It simply 'voices' all activities—and if we dare to really listen, we may sense the depth of the environmental trouble the world is facing. During the past year I decided to re-examine the many sound recordings I have made since approximately 1977/78, when I got my chops in field recording while producing and broadcasting my radio program Soundwalking on Vancouver Co-operative Radio.
Without knowing it then, it formed the base of my recording approach for many years to come. The idea of including my voice while recording the environment was there from the start and was based in the desire to acknowledge my recording presence to the radio listener. In other words, in speaking together – acoustic environment and voice – a relationship between soundscape and human vocal expression was revealed. 
Upon the kind invitation from the BEAST FEaST 2021 to create a new sound piece, I decided to use the opportunity to reflect back on my more than 40 years of sound recording and composing with environmental sound. I have brought together many of my recordings and compositional approaches in a fluid stream of listening while also softly speaking my mind about issues of soundscape ecology. The festival’s theme is “Recalibration”. The Soundscape Speaks is an invitation to open yourselves to the complexities of listening itself and the possibilities it may offer to recalibrating your own relationship to the environment.”

Hildegard Westerkamp is a German Canadian composer, educator and radio artist whose work since the mid-seventies has centre around environmental sound and acoustic ecology. Her compositions draw attention to the act of listening itself, to the inner, hidden spaces of the environments we inhabit and to details both familiar and foreign in the acoustic environment. She has written numerous articles and texts addressing issues of the soundscape, acoustic ecology and listening, has travelled widely, giving lectures and conducting soundscape workshops internationally. She is a founding member of the WFAE.
https://www.hildegardwesterkamp.ca/

This piece was presented at Oscillation Festival ::: Public Address, on Thursday, 28/4/2022 at Decoratelier, Brussels. More informations on the Festival's program:
www.oscillation-festival.be/2022/

Hildegard Westerkamp ::: The Soundscape Speaks - Soundwalking Revisited

L'ampleur du souffle (2020)

To breathe, is to activate a certain space. Short breaths, deep breaths, dying breaths or sensual ones - they evoke variety of features and peculiarities that the breath embodies. Breath is also a precondition of voice, and further, of a spoken word. Paving the path for every physiological and philosophical activity, breath is essential to all we do and all that we are. 
Auditory situations in this piece are fluidly changing from one to another in a constant fluctuation and transfiguration of the musical material. Acoustic spaces inside of which the music is being situated, give room for the sounds to appear, to change and disappear, develop and transform, and inside of these spaces, the ear can swift freely from one sound object to another in a spatial and non-linear listening experience.

Commissioned for the Tingles & Clicks project by the Musikprotokoll 2020 and supported by the program "Creative Europe" of the European Union and SHAPE platform.

The work was presented in ambisonics, binaural and stereo formats. It was composed for an interactive environment, and the sections (structure, duration) were open. This is one of its renderings (structure and format-wise), made for the presentation at Radio Belgrade in 2020.

Presented at Musikprotokoll, Graz, at Radio Belgrade 3, CYNETART festival and Ö1 radio (Zeit-Ton radio show).

L'ampleur du souffle

APOD0054 Matt Voor Takeover. Edition Erich Schmid Ep. 30

snf10 : reizen "works, 2020" extract

Q-O2 is a Brussels based workspace for experimental contemporary music and sound art. Q-O2 develops projects in collaboration with national and international artists and arts organizations, hosts artists in-residence, and holds performances and concerts. 
http://www.q-o2.be

Hildegard Westerkamp ::: The Soundscape Speaks - Soundwalking Revisited

Q-O2

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