Name: Étant Donnés '3:16' (PP13) LP by Penultimate Press in experimental / noise / field recording / onkyo / musique concréte / contemporary
Duration: 3 min 16 s
Description: Track 2 from the Étant Donnés 'Aurore' LP (PP13)

experimental / noise / field recording / onkyo / musique concréte / contemporary

Playlist and other information available at: https://www.freeformfreakout.com/fffoxy-podcast-200-penultimate-press-henning-christiansen-archive-feature/

**This episode includes an interview with Mark Harwood of Penultimate Press and Thorbjørn Reuter Christiansen of the Henning Christiansen Archive.**

FFFoxy Podcast #200: Penultimate Press & Henning Christiansen Archive feature

Playlist and other information available at: https://www.freeformfreakout.com/fffoxy-podcast-202-horn-of-plenty-feature/

**This episode includes an interview with Nick Hamilton of the London-based label, Horn of Plenty**

FFFoxy Podcast #202: Horn of Plenty feature

A track I produced for a workshop by Angelina Deck for high school kids at TENT Rotterdam.

Room for Imagination

Plexure

Worse

Track 2 from the Étant Donnés 'Aurore' LP (PP13) 

Étant Donnés '3:16' (PP13) LP

Giancarlo Toniutti & Tiziano Dominighini - Counterchronology (Excerpt)

Valerio Tricoli — Clonic Earth
Format: 2xLP / DIGITAL
Cat.No: PAN 71
Release Date: 24th June 2016
http://p-a-n.org/

The experimental Italian composer returns to PAN with a new LP, titled 'Clonic Earth'. His ongoing output for the label has long-presented his electroacoustic sound compositions where since the mid-'00s, he has utilized analogue live sampling and real-time editing of field and studio recordings by means of manipulation of 1/4 inch tape.

Asides from being a founding member of the Italian avant-rock group 3/4HadBeenEliminated, he has worked extensively with various musicians, choreographers and multimedia artists including Thomas Ankersmit, Antoine Chessex, Werner Dafeldecker, Anthony Pateras, and Robert Piotrowicz.
 
His studio compositions, documented on few records, often explore themes of the internal - represented both by the psychological and the physical - and of the occult, which with the use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.

The new record, 'Clonic Earth' is a perturbing, compelling and eventually mind-expanding work, marked by compositional strategies of exploded narratives, psychological insight and oracular literary references, where questions about the boundaries of spatial perception in the decoding processes of acousmatic music are overturned into existential, metaphysical questions. 

Tricoli's allegorical and philosophical universe takes the form of an unhinged mind's landscape swarming with estranged sound objects, and sometimes reminiscent, in the complexity of details and surrealistic effects, of Hieronymus Bosch’s larger paintings. Compared to his previous works, the content of 'Clonic Earth' explores more synthesized and heavily processed sounds, especially vocals, often appearing in the form of a religious, electrified chanting. 

The record is described by its author as a natural consequence of the internal collapse depicted in his previous record, 'Miseri Lares': "As if all the debris left inside my loudspeakers have been ignited to expand into the ether, to find a justification at the principle of Chaos, or Cosmos alike." 

This movement is expressed by references to the theme of fire as original matter in the Chaldean Oracles which, together with the later work of Philip K. Dick, are the main sources for the vocal/text elements of the composition. Fire, intended as the convulsive principle of existence, but also an ontologically terminal element - hence a representation of the infinite decay and a mean of communication with the otherworldly - serves the author a metaphor for the acousmatic listening experience itself: a borderline perception of sounds eternally fixed in their spasmodic disappearance, which could eventually drag us into a different layer of reality, drastically changing, subverting, or expanding the space in which they are diffused. A ritual, somehow, which may link the listener and the perceptive space that he inhabits with whatever lies beyond the loudspeakers, beyond the vibrating surface of the world.

Valerio Tricoli — I. The Hallowed Receiver (PAN 71)

Wersja instrumentalna z próby / Instrumental version, from rehearsal, 2016

Księżyc - Kołysanka szekspirowska  / Shakespeare's Lullaby [from rehearsal]

Angel's Egg - Whip

Dogon Lock - Pulp/Lore

https://cassandramiller.wordpress.com/2009/08/30/large-house/

(photo by Susanna Majuri used here without permission)

When I called this piece “A Large House” it was a title I thought up in a hurry, for no specific reason, and it just seemed to fit. In retrospect, it fits because this piece more than any other made me feel like an architect. I was writing something that was a large space, open, but perhaps with huge pillars holding it up. The piece is stationary, it doesn’t move, it’s grounded in one place, and maybe it even resonates like something with a lofty ceiling. As for any other connection between this piece and a large house, you are welcome to make it as you like.

A Large House

Large House (full) - Janacek Philharmonic, Peter Rundell cond., premiere (2009)

from the album "Stereo Bugscope 00" (CD 2004)
by  Haco
「ステレオ・バグスコープ 00」
HACO

The name "Stereo Bugscope" refers to a performance system that detects oscillating sounds emitted by the circuitry of electronic devices. It also signifies the act of listening to the electromagnetic world that emerges from the inside of devices such as computers, cell phones, MD players, and wireless routers through the use of two inductive microphones (pickups). The oscillating-circuit sounds come from the IC board and clock, and the electromagnetic noise comes from the electrical current that turns the fan and drives the motor. Waveforms similar to the audio frequencies of electromagnetic leakage, which is faintly emitted from machines, are also released by the inductive coil in a pickup. The sound is then electronically amplified to magnify these signals which are ordinarily so faint as to be inaudible. According to one's position in relation to and distance from the source, changes in the sound can be observed. 

ステレオ・バグスコープ｣は、電子機器内部における回路上の動作発振音を検出するシステム。二つの誘導性マイクロフォン（ピックアップ）を用いて機器回路から発生した電磁界を覗く。 コンピュータ、携帯電話、デジタル・プレーヤー、無線ルータなどの基盤上のIC、クロック、ファン、モーター駆動などによる電磁ノイズを拾う。 機器からかすかに磁気漏れした音声周波数の信号と同様の波形が、ピックアップの誘導コイル内にも発生し、それを電気的に増幅している。これらは通常、不可聴な微弱信号である。発生源との位置、距離の関係により音の変化が観察できる。

Awarded Honorary Mention in digital music category at Prix Ars Electronica 2005 (AU)
2005年アルスエレクトロニカ (オーストリア) 受賞作品

■ Label / レーベル ■ Improvised Music from Japan (IMJ-523) (JP) 

☁ Details / 詳細
http://www.japanimprov.com/indies/imj/stereobugscope/index.html

Stereo Bugscope 00

Haco - Bugfield 1 (excerpt)

Full album here: 
https://zeenaparkins.bandcamp.com/album/three-harps-tuning-forks-electronics-2

Three Harps, Tuning Forks & Electronics

Three Harps: Tuning Forks

Music lover & collector. Art, technology, design and fashion fan, futurist.

The most daring, audacious and amazing record label on the planet - Le Monde

Étant Donnés '3:16' (PP13) LP

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