Live jam on Eden Grey's CV Freqs podcast, recorded in mono to Uher 4200 Report Monitor reel to reel tape recorder, which is also used for tape echo effects. 

Watch the video here and experience these sounds enter Zoom call non-existent-fi (also featuring an interview with the musicians) https://youtu.be/MFeEtTY8l3U

Thanks 2 Eden Grey

Edmund Davie & Dan Hayhurst NO-FI SYNTHS ON REEL TO REEL TAPE(CV Freqs podcast)

In his book 𝑇ℎ𝑒 𝑊𝑒𝑖𝑟𝑑 𝑎𝑛𝑑 𝑡ℎ𝑒 𝐸𝑒𝑟𝑖𝑒, Mark Fisher wrote about the two notions: While the weird is something present where it doesn’t belong—something from outside found on the inside—the eerie has to do specifically with outside space. Something is eerie when there are unanswered questions about agency: Who or what is responsible for the abandonment of this zone? Who or what is crying out in the distance?

Katharina Schmidt’s 𝑇𝑒𝑛𝑛𝑖𝑠 𝐶𝑜𝑢𝑟𝑡𝑠 𝑖𝑛 𝑡ℎ𝑒 𝐻𝑎𝑙𝑓 𝐿𝑖𝑔ℎ𝑡, a single, longform track stretching to a near half hour, deftly captures this spatial sense of the eerie. The evolving drone is like coming upon a ruin, circling it, and being drawn inside. There are no surprises, no sudden horrors, just the strange pull of oscillating waveforms that paint a bleak yet soothing landscape.

In certain kinds of listeners, empty, abandoned spaces produce a pleasurable dejection. Maybe this is because spaces where human life is evacuated represent the end result of capital. (It seems to have withered away, but is in fact off to find another shell for its home.) What we’re left with is something new to inhabit, a new infrastructure for freedom. The subtle changes in Schmidt’s recording have less to do with melody and rhythm, more to do with accumulating color and texture of space. And so the half hour can feel like five minutes, or an eternity—time and scale exist differently here.

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After years of playing drums and piano in various bands, Katharina Schmidt's solo work is influenced by indie, experimental, and improvised music. Exploring interests in storytelling, sonic topographies, and generative techniques, her music uses electronics, field recordings, and self-built interfaces alongside acoustic instruments. From sonifications to lullabies, her work is poised between formal experimentation and narratives cued by literature and pop culture, and can be heard in installations, film music, and radiophonic pieces, as well as releases on labels such as Flag Day Recordings, Slaapwel Records, and Focused Silence.

Katharina holds a master’s degree in Sound Studies from the Berlin University of the Arts and hosts resident shows at Cashmere Radio and SVS Radio.

katharina-schmidt.net
katharinaschmidt.bandcamp.com  

artwork by Stefan Lingg
audio finalized by Glyn Maier

all proceeds to The Homeless Period Project (Greenville, SC, US) - www.homelessperiodproject.org

Tennis Courts in the Half Light

Katharina Schmidt - Tennis Courts In The Half Light [Excerpt] (ENMD03)

Solstice drone, live to 2-track. Eurorack with a focus on the harmonic oscillator.

2021.12.21 Solstice

3 Part Sunset

Remix Donna Summer Hotstuff

Liquid transition (A119)

While walking a dog on the edge of the woods in Gorham Maine, we heard some odd and very loud sounds. Most likely a metal structure in the wind, seemingly too loud for that to make sense. I left my Zoom H1n on top my car as I brought the dog back inside, and this is what it recorded.

12.15.2022 Strange Distant Sounds In Gorham Woods

A clip of a tape loop made with the Roland j6 and portastudio, played through an eventide black hole and a eurorack skiff with morphagene, qpas, and ghost

12.17.2022 Tape Loop And Modular Clip

Generative Computer Music 2/4/2023

padon

Composition for Long String Instrument with
Travis Weller, violin, and Henna Chou, cello

Recorded by James Talambas, New Media Recordings
Seaholm Power Plant, Austin Texas, 2010

2021.12.21 Solstice

Ron Harrity