minecraft1

Degradation Loops was a 16 day composition that gradually and completely 'bit crushes' my 2015 album Yellow Bell. Produced for a group show at the 55 Sydenham Rd, Marrickville gallery in Sydney, a process of sonic destruction unfolds in response to visual artists destroying and reassembling their work, to create new work, and to question the dominance of commercial imperatives within art. Here is a 14'48" time lapse edit of the 16 day composition, 2016.

Degradation Loops_55 Sydenham Rd Marrickville

Frist track off of 'Neuros', released April 12th 2017 on Moloton.
MOLOTON001
@sonjatofik

Neuros

Sonja Tofik - Enter

Body Consonance

BYRON WESTBROOK - What We Mean When We Say Body Language

Taken from Keys to the Fields 21: J. Campbell "Birthstone"

J. Campbell _ Birthstone

Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows last year’s Selected Early Keyboard Works and anticipates Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of Hennix’s writing.

Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. “The Pointed Time Bus”). Frustrated with the jazz musicians’ inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. 

In 1976 The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group’s first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, “Music of Auspicious Clouds” and “Waves of the Blue Sea” are expansive drone improvisations, breathing with the pulsating lull of cicadas’ organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called “the most rejected band ever formed in Sweden” continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer.

The Deontic Miracle: Music Of Auspicious Clouds (excerpt)

"Stele" out June 21st via Perfect Aesthetics.

https://perfectaesthetics.bandcamp.com/album/stele

Stele

Stele, side A

Ifs = Krzysztof Freeze Ostrowski & Fischerle

Source: https://fasrat.bandcamp.com/album/fasrat-compilation-3

Ifs - Candyflipper

Sean McCann - "Puck" LP
www.recitalprogram.com/puck/
Edition of 500
12-page “Puck” pamphlet
Two art cards with program notes & recollections
Out November 15th, 2019

R69 - Sean McCann - "Damals" from Puck LP

Palanga Street Radio
presents:
🐍
Celeste Selects her favourite afrobeats.
@celesteneila
🐍
👍
http://palanga.live

CELESTE SELECTS EPISODE 6

Hiver / winter

Seasonal show by @syndrome_premenstruel_spm & @fatmawonthealyou about music and plant on Lyl Radio.

Fatma Pneumonia et Syndrome Premenstruel sont de retour pour un hiver sous les signes du cresson, des hellébores et d'une salade très spécial! Les branches du gui nous protègent. Cold talk, recette et tracks chaudes.

tracklist and more info >>> https://lyl.live/episode/hevea-syntax-5

HEVEA SYNTAX ep06 w/ Fatma Pneumonia & SPMDJ _ LYL RADIO

Music page for the record label Recital, run by Sean McCann. 

R69 - Sean McCann - "Damals" from Puck LP

Recital

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