Your 2021 Playback

Anne-F Jacques/Takamitsu Ohta, Oto to Secchi

Slues

They don't list psychedelic as a genre anymore. This track is perhaps too self-consciously psychedelic to really be so. Just as every punk in a poser and I wasn't on El Cid when I made this. But it was almost called Denim Dungaree Sashay Cascade but I settled on Corduroy Cascade because of my memory of the hippie girl neighbor (I was 5 and she 19) who walked down the street with bare feet, the cords kind of rippled with her thighs. Then the "cc" made me think Creatively unCommon actions and making psychedelic music without a license, wanting to get into the worlds in between. Well, there it is, illegal, unknowable, like some unofficial illegitimate god being invented on Mars for import one day. New c(r)apital. Made with zither, secret prepared guitar techniques (string fragments, shaving brushes) microphones covered with a condoms to keep out the sophic rain of mercury, one flashback effects pedal. Questions will be taken after listening. Happy Seasonless World Wednesday

Corduroy Cascade

section of a sound work constructed from sound recordings made with\in a WWII bunker

2020-21

Les Horribles Travailleurs

Photo made during a recording session

WWII bunker - Sound work 1

Fourth track from the forthcoming Empty Reels cassette on Vitrine, which contains four very close stereo recordings of different tape reels rotated slowly on a Grundig machine. 

http://www.scrawn.co.uk/

Empty Reel #4 (aluminium)

Ivan Čkonjević_el. guitar
Roberto Vodanović Čopor_cover
Rec. in Novi Sad (2012)

1_imp

From the album The Thing Itself And Not The Myth
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First having read the book of myths,
and loaded the camera,
and checked the edge of the knife-blade,
I put on
the body-armor of black rubber
the absurd flippers
the grave and awkward mask.
I am having to do this
not like Cousteau with his
assiduous team
aboard the sun-flooded schooner
but here alone.
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From Diving Into The Wreck by Adrienne Rich
---------------------
An album made from sounds gathered underwater and along many shorelines. It is built from drones played by a synchronised swimming speaker broadcasting into a fjord, many spluttering radios, geese, and morse code.

There Is No One To Tell Me When The Ocean Will Begin -- out Nov 26 on Glistening Examples

EnCOUTnTErs - The Avian Speculative at Cafe Oto, July 25, 2018.
Also performing: Lee Patterson and Sharon Gal. 
Pic by Sonia Levy/SoundFjord
Recording: Hear and Now, BBC Radio 3.
July 25, 2018.

Set - EnCOUnTErs - Cafe Oto, July 25, 2018 - recording thanks to BBC Hear and Now Radio 3

Part of the 2012 compositions for physical theater collection. 

Animals Help

Kate Carr
Heatwave
C32 (XIX-V)

Release date: December 2019
www.hasanaeditions.org

Heatwave

XIX-V - Kate Carr - Shimmers Rising

This year London has experienced several weekends of the hottest summer and that moved the Australian sound artist Kate Carr, whose practice is centred on articulating the relationship between people and place through sound, to point her microphone at the city. This volume is based on her recordings during a particularly hot long weekend in a corner of very busy intersection in London, where she resides now. In Heatwave, Carr is interested in both the serious and also the more prosaic aspects of soundscapes related to climate change. She investigated the throbbing summer music from her neighborhood, people’s efforts to keep cool, and the uneasiness which accompanies these everyday activities in this moment of environmental crisis. The way these pieces construct and compensate, with all the tangible sounds that fold into larger moods via multiple instruments, exemplifies her acumen in creating sonic stories that reflect our multi-layered experience of reality.

Humidity - from Heatwave out now via Hasana Editions

On the eve of the first anniversary of tsss tapes, Francesco Covarino has assembled a mix uniting fragments from all nine of the label's tapes into one exciting journey. Their debut release was the compilation Free Percussion, which includes tracks from Claire Rousay, Will Guthrie, Ted Byrnes, and many others, an impressive catalogue of contemporary sonic research happening in this area. Subsequent releases have brought artists into conversation with each other, prompting new and fruitful relationships, beginning with Masayuki Imanishi and Marco Serrato, Graham Dunning and Edward Lucas, and Danny Clay and Matt Atkins.  But the label's growing discography also includes solo releases from Rie Nakajima and Dominique Vaccaro. Each release has been a fascinating document, and as the label catalogue has grown, I asked Francsco to assemble this mix so that we might share these gems with our readers. Sure to appeal to fans of Dinzu Artefacts, Patient Sounds, and Canti Magnetici.

Francesco explains:

"I wanted to give a short taste of all of our seven releases so far, plus the two upcoming tapes we are putting out at the end of February. I wanted to make a relatively short mix, so that it would not be too difficult to listen to the whole thing until the end."

You can listen to all the complete tapes at https://tssstapes.bandcamp.com

And read more of our interview with Francesco and tsss tapes, including a complete tracklist at:
https://acloserlisten.com/2020/02/01/tsss-tapes-presents-torniama-a-casa-mix/

tsss tapes presents 'torniamo a casa' [mix]

forms of minutiae is pleased to share its first release — 'for scarpa’s fountains' by field recordist and composer Pablo Diserens (@pablodiserens). 

'for scarpa’s fountains' is an ode to Carlo Scarpa’s carefully organized matter and instinctive approach to raw elements and their coexistence with water. In resonance with the architect's work, Diserens blends field recordings gathered in the Venetian city and Scarpa’s spaces — such as sounds of fountains from the Fondazione Querini Stampalia and the Giardino delle sculture — with drone and rhythmical improvisations on cymbals and glass. This 25-minute long piece is divided into three distinct parts, each investigating various structures, materials, and memories. The two firsts segments are direct tributes to the architect in which Diserens uses copper and glass as compositional tools to create imaginary spaces that translate the subtleties of Scarpa’s forms through circular drones and transients ballets. As one wanders through these sonic rooms, or perhaps gardens, one also hears the long chants of cicadas and faint murmurs of passing visitors guided by the fountains’ drizzles. In the last section, listeners emerge from these architectonic apparitions with a surreal soundscape of Venice at dawn. Seagulls cry in unison from a sleeping city’s roofs, while a lonely figure drags a suitcase on the stone pavement unveiling the street’s relief and narrowness. The piece comes to an end as it dives back into Scarpa’s dripping waters. 

'for scarpa’s fountains' celebrates the juxtaposition of various (sonic) materials that produce triggering patterns of (acoustic) memory. 


Pablo Diserens is an acoustic ecologist, field recordist and composer based in Berlin who engages with various topo- and phonographies with a wide range of visual and sonic recording techniques. 
— website: https://pablodiserens.studio

pablo diserens - for scarpa's fountains [fom01]

Audio work for an exhibition of paintings & objects by Simonida Rajčević, Belgrade Cultural Center, August 2020.

Lažni bol - exhibition of paintings & objects by Simonida Rajčević

4-track tiny self-release published August 22nd | more here https://manjaristic.bandcamp.com/album/the-naked-flame-trembles-in-an-empty-room

Nocturno For Refrigerator, Large Bodies Go Backwards

filed and hydrophone recordings from the island of Vrnik, drones made out of trumpet and cello sounds ~ work in progress, Aug 2020.

Breathing, study of the Vrnik quarry

DOB Gallery Belgrade October 13th >>> sound installation for the exhibition of drawings and paintings by Simonida Rajčević
http://simonidasimonida.com/

Strelice >>> Arrows >>> exhibition by Simonida Rajčević

Manja Ristić: Sonic Ontology of Negligence
7 Nov 2021–8 Jan 2021
FM exhibition, exhibition of 8-channel sound installation

7 Nov 2020 at 12.00 (noon) on FM 88.8 MHz – in-situ FM walk (at Park Tivoli)
10 Nov 2020 at 18.00 p.m. on FM 88.8 MHz – in-situ FM walk (at Park Tivoli)
18 Nov 2020 at 20.00 p.m. on programme Ars – radio exhibition opening

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For more please point your cursor to:
http://www.steklenik.si/en/manja-ristic-sonic-ontology-of-negligence/
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Sonic Ontology of negligence is a continuous research evolving from listening to abandoned places and landscapes reshaped by extensive intervention of human presence and exploitation, and eventually “given over“ to Nature to reclaim the space. In the process of conceptualizing Sonic Ontology of negligence, Manja Ristić resided in places that were heavily exploited and forever changed by the human urge to build, comprising thousand years-old quarries as well as present-day mega-structures, abandoned as a result of corruption and consumerist socio-political turmoil. The nucleus of the compositional structure is devoted to abandoned construction building site of the Stožice mega-structure, while layers of mnemopoetic sonic imprints are derived from an old lime-stone quarries from the island of Korčula in South Dalmatia, such are Glogovac, Lenga, Defora and Vrnik, but also abandoned mineral mines and lime pits from Fruška gora in Vojvodina, North Serbia, and other sites such is the military compound placed in the middle of the Avala forest in the suburbs of Belgrade. The poetical accent is given to the dynamics and textures of waters and aquatic micro spaces, which are building the formative/reproductive environments in the process of re-establishing bio diversities.

Manja Ristić graduated from the Belgrade Academy of Music and later also completed her post-graduate diploma in Solo-Ensemble Recital at the Royal College of Music, London. Besides performing in the field of instrumental electroacoustic music, her sound-related research is focused on an interdisciplinary approach to sound art, field recordings and experimental radio art.

Credits:
Artist: Manja Ristić
Curated by: Irena Pivka, Brane Zorman
Organisation: Irena Pivka, Katarina Radaljac
Translation and editing: Katja Kosi, Melita Silič
Public relations: Katarina Radaljac
Production: Cona, Institute for Contemporary Arts Processing, 2020
Venue: Steklenik gallery for sound bioacoustics and art, FM 88.8MHz, 3rd programme of Radio Slovenia – programme Ars

Exhibition is being part of the Acoustic Commons project support from the European Union’s Creative Europe program.

Manja Ristić: Sonic Ontology of Negligence (stereo version of an 8 channel sound exhibition)

From the latest self-release Starfish & the sonic tonalities
https://manjaristic.bandcamp.com/album/starfish-the-sonic-tonalities
The Absence started from listening to an old recording of the Wind Quintet by Serbian composer Ljubica Marić. After learning the composition well, I simply fell in love with the noise hidden in-between sounds produced by an old vinyl crackling and web compression. I made myself a little drone and soon realized the psycho-acoustic qualities of it. The narrative is wrapped around the noise pollution, from both below and above the Adriatic sea.

The Absence

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