Oct23_2019

http://importantrecords.com/imprec/imprec441

Tim Catlin formed the Overtone Ensemble in 2012 in order to perform works using his self-made "Vibrissa" instruments. Each instrument consists of twelve vertically mounted aluminium rods that are longitudinally stroked by hand to produce ethereal "singing" tones. The long sustaining nature of the rods sound and microtonal tunings allow players a sonic palette of complex textures and harmonic complexity. Other instruments used include massed hand-bells, quarter-tone bells, e-bowed acoustic guitars, re-tuned glockenspiels, wineglasses and long wire instruments.

The ensemble's compositions utilise acoustic phenomena arising from microtonal tuning such as phasing, combination tones and sympathetic vibrations, as well the effects of room resonance. All sounds are acoustic in origin without effects or sound processing. The results are works of shimmering intensity and pulsating beauty.

The Overtone Ensemble are: Tim Catlin, Atticus Bastow, Philip Brophy and David Brown.

Since forming in 2012 the group have been well received at festivals such as Slow Music, NOW now, Sound Out, Light in Winter and Liquid Architecture as well as various galleries and clubs within Australia. Group members have a long history of involvement in the experimental music, sound art and improvised music both within Australia and internationally.

Overtone Ensemble CD IMPREC441 - Available June 24, 2016

American avant-electronic musician and essayist Bret Schneider holds no institutional allegiance to one artistic medium. His background encompasses a wide range of work experiences and reveals a man who is connected to the world around him in complex, alienated ways. His thoughts on music and philosophy are intertwined into a billowing exposition. But when exploring the dark recesses of his more aural works, there is an inherent flexibility. Phasing percussive elements and frayed droning lines all lead to a perpetually shifting feeling for an aural uncanny. As fractured as his music can be, there is a dim spark of rumination that threads through his synthetic machinations.

On his latest release, “Xilinx,” Schneider taps into a primordial electronic noise—the kind that rests just on your periphery, unwinding itself to reveal myriad sordid circuits and disjointed projections. These tracks maintain a wired mania, expressing an unsettling undercurrent of ragged repetition and warbling drones. There’s an unexpected elasticity to Schneider’s cabled rhythms, and they often shift across several temporal lines before turning inward, struggling to illuminate an intimate dissonance or imagine a multi-chambered core. Displaying a raw and unusually concise knowledge of how these sounds might fit together, “Xilinx” is part zoetrope, part post-industrial dreamscape. It is an inquiry into the idea of internal movement, a contorted experiment in musical patterning, and an experiment in self-replication.

Xilinx

Bret Schneider - VaVE1

INFOS / ORDER: http://shelter-press.org/native-instrument-camo-sp073/

—

Native Instrument is a Berlin based sound collaboration bringing together the fieldrecordings archive of Felicity Mangan and the abstract vocabulary of Stine Janvin Motland.

Often referred to as insect techno, Native Instrument’s music is constructed using electronic and vocal adaptations of wildlife audio recordings originating mainly from the Australian and North European fauna; mixing the natural rhythms of animal calls with digital effects and vocal imitations, Native Instrument enlightens a sonic ambiguity between rural nature, electronics, and the human voice. 
 
Over time, field recordings and human vocabulary become mixed up, indiscernible from one another – a sound illusion that ends in the creation of a new melodious wildlife genre.

With their debut release Camo, Native Instrument presents their true artificial nature; sound collages moving between tropical ambience, club inspired bug beats and amphibian trance. 

Mastered by Giuseppe Ielasi and pressed at Pallas in a first edition of 500 copies.

NATIVE INSTRUMENT 'Waldfest' (SP073)

snf04 : giuseppe ielasi "even when they speak of space" out dec.15th 2017.

music for whistling, microphone and digital degradation. 
recorded in november 2016 and august 2017. 
to be played at low volume.

www.senufoeditions.com

snf04 : giuseppe ielasi "even when they speak of space" part 1

A soundscape opera about relocation, urban space and gentrification.

This release is dedicated to the people and organisations in Brixton working to protect all that is unique about this district.

---------------------------------------------------------------------

Brixton was my introduction to London when I moved here almost two years ago. I had never heard of Brixton before I arrived, nor had I spent any time in London. I ended up here simply because a friend of a friend knew someone with a flat. This document represents the ways I have come to know this district, and through it a little of the rest of London. My work has always begun with the soundscape, and Brixton offers a remarkable one. From outdoor markets, bicycle sound systems, shop stereos and buskers to booming car hi fi systems, sirens, car washes and people simply talking and taking up space on the streets, Brixton is a noisy place. It was through listening to Brixton that I also came to hear voices being raised about how much this area had changed, about rising rents and neglected public housing, about how many people who grew up or used to have businesses here can no longer afford to stay in Brixton. I learned about the role of Brixton as a centre of Black British culture, resistance and musical production, and about how as Brixton has become increasingly gentrified the ways in which some of the sounds associated with Brixton's history and communities were being lost from this area. I learnt about some of the new silences of Brixton. I don't want to pretend that this release could ever be a definitive documentation of Brixton's soundscape, there are many far better situated than me to understand all the nuances of this area. This album is simply about the ways I came to know Brixton through listening, and the respect I gained through this process for the many struggles being waged in this district to maintain it as a community. This album is about arriving somewhere to find it in the midst of major upheaval in its social fabric, and about examining my own role in this as a new white Australian addition to the area. 
A soundscape reveals a lot about a place, through its presences, its silences, its rhythms and its pauses. A soundscape is forever being made by us all, it stitches us together in ways both subtle and sometimes overwhelming. I think in both its openness and fragility the soundscape can reveal something about the process of community making, and its sensitivity to change offers both opportunities and risks.

Kate Carr, Brixton, London.

I ended out moving to Brixton - Kate Carr (excerpt) out March 9

http://ascetichousenyc.bigcartel.com/product/chrstian-mirande-scaled-deposits-c87

Christian Mirande - "Brevity Code"

This piece was made for the opening of the Radio Belgrade Electronic Studio on March 2 2018. 

This is my 1st recording of the real-time improvisation with EMS Synthi 100 + my computer setup.

Computer setup was based on the TouchOSC interface, Pure data patch and Ableton live. Improvisational dialogues between Synthi and computer were done through a dynamic interactive interface on my tablet and tweaking of the Synthi sounds live and playing with their parameters. I haven't used Synthi's sequencer (or a computer sequencer), but rather variety of key triggers, joysticks and envelope shaper trapezoids.

Due to a wide frequency range, it's not advisable to listen to this recording through a laptop speaker or similar.

This is my first use of the modular synthesizer in live performance and/or composition.

TV recording of the whole event: https://youtu.be/9tUwHGweUxY
(simultaneous performance in 2 studios of the Radio Belgrade with audience, live TV and radio broadcast)

Radio Concert No.1

Mt Accord - Postcards From a Dream
[CZSZ022]

https://czaszka.bandcamp.com/

Mt Accord -- II

Taken from the album, "Stries ton, tripes et poils"
Released May 2018 on Weighter Recordings. - www.weighterrecordings.com

Prune Bécheau : violon baroque

Enregistré au Tuquet en janvier 2018.

Thomas Pujols : mastering

Merci à Penultimate Press, Thomas Pujols, Eloïse Burjade, B+B, Adrien Bardi Bienenstock.

Prune Bécheau - "zzffk zzffk" (excerpt)

LINE_095 

I think about the work of Mika Vainio almost every day since his sudden and untimely passing on April 12, 2017. 

His work as one half of Pan Sonic and his solo work under his own name and as Ø and Philus were and are incredibly influential to me. It was partly one of the reasons I began working with sound again in 1997 after stopping for almost 4 years, central to the evolution of my own listening. 

His sounds and arrangements were always elusive, otherworldly, unreal, strange, unsettling, often abrasive, and at the same time expressed a sheer unrelenting beauty. They seem to represent a push and pull between states, warmth and cold, silence and fury, future and past, life and death. 

I was fortunate enough to perform with and for him (in the audience) and despite his being a man of very select words, to share conversations with him. The prospect of a new release by Mika always thrilled me. I am still saddened to think that there will not be more of his work to be heard each year. 

These two pieces pay homage to Mika and the subtle and unquiet gifts he gave all listeners.
credits
releases April 20, 2018 

1. Central (for M.Vainio) 44:40 
2. Unquiet (for M.Vainio) 07:10 

formed and recorded April 2017-March 2018. 
track 2 intended to be played as loud as possible.

Centra (for M.Vainio)

Unquiet (for M.Vainio)

deconstructed by (0x4d546864)

https://tinyurl.com/yab36954 as 4LLP4 CH1N0 on New York Haunted
 https://tinyurl.com/yb7h348e vol3. on Tanuki Records
 https://tinyurl.com/yc267t8w  code428 = vol12. on co-dependent :
 https://tinyurl.com/yb8ltgbw museum compilation track 
 https://tinyurl.com/y3y3ek52 vol5. on Cavern Brew Records
 https://tinyurl.com/y6ob3eca FOOL on Cavern Brew Records

Gnossienne 1 - deconstructed by (0x4d546864)

from forthcoming album "unrelated" out on june 29th 2018 (LP / DL)

Unrelated

NICOLAS WIESE - Expediency / Atavism

Unreleased work included on the "A Turn of Breath: Deluxe Edition" 2xLP
Available to pre-order now, available on June 29th, 2018
www.recitalprogram.com/a-turn-of-breath
www.recitalprogram.com/purchase

R8 - Ian William Craig - "Heaviness Sketch in Winter" from A Turn of Breath 2xLP

XY capsule mics on my Zoom H6 plus two JRF contact mics panned hard L and R fed through the mail slot of our shuttered entryway while a monster typhoon rages outside. Things got percussive.

Typhoon Jebi 9.4.18 [Zoom H6 JRFx2] Excerpt

snf05 : luciano maggiore "9 enclosures" part 6

Fahmi Mursyid 'Sejarah'
C30 available November 11th

We are pleased to announce CLR17, Fahmi Mursyid's 'Sejarah'. Fahmi is an Indonesian sound artist previously working with the likes of Chinabot and featured on Resonance FM. Continuing his trademark technique, Fahmi warps and reframes samples of traditional Indonesian music into something truly disarming. At times recalling the cacophonies of Berio or Xenakis, but always tempered by an ambient sensibility, Sejarah is a welcome force in the Cellar catalogue.

Fahmi Mursyid - Linggadjati

⠠⠕⠝ ⠽⠗ ⠎⠊⠙⠑

from KR061:
Benjamin Finger / James Plotkin / Mia Zabelka - Pleasure-Voltage (LP / DL) out on february 15th

Pleasure-Voltage

FINGER / PLOTKIN / ZABELKA - Hostile Structures (edit)

'Tones mor' is taken from FWD24 - Rune Clausen 'Tones jul' 

Digipacks and digital available to purchase:
https://forwind.bandcamp.com/album/tones-jul

Forwind arrives at release number 25 with a trip to the Norwegian forests. Rune Clausen’s “Tones  jul”  leads the listener on a sinister trail through the thicket with a foreboding set of tracks that come winter ready from subzero Norway.

Tones jul  follows up the moods from his collaboration with Anders Brørby, “Mannen Faller”, a tribute to the long gone Norwegian forests, its animals and people living there in both fear and joy. Rune's Forwind debut is a darker and more anguished piece of work. Rune’s first solo album under his own name, is musically and thematically influenced by Norwegian folk music, ambient, ambient black metal, the rough and dark fates of 19th century people.

Tones jul

FWD24 - Rune Clausen - Tones mor

This is an excerpt from a 36 minute piece for the Longform Editions label, a collective for deep listening. Came out a few weeks ago. 
------------------------
Artist notes: 

This piece is the result of nearly a month spent in the Canadian city of Saskatoon, Saskatchewan during Autumn. I was in Saskatoon to develop a new work and much of my time was spent wandering around this city, which I discovered was also referred to as the 'city of bridges' recording various bridges, as well as streetscapes, the South Saskatchewan River, and people vibrating various structures in Saskatoon, raised pavements, the bridges themselves, and this very cool and narrow pedestrian and train bridge. I have been interested for quite a while now in the ways people contribute sonically to the making of particular spaces, and so this was my focus here. In this recording you will also hear various recordings from cafes I visited in Saskatoon, and the soundtracks I encountered there, I should hat tip The Underground Cafe where I went almost every day. There is also the bass throb from one guy's car who stopped to pump out some thrash metal-ish sounding music, but from the outside all I could hear was this muffled thump, which I found quite hilarious and excellent and also there is a sample from the Saskatoon-based band Waitress, who are a very excellent band I met while there and who allowed me to use a snippet of one of their tracks for this piece. Apart from some very minor edits this piece was performed as it is live in my studio in Brixton, London using field recordings from Saskatoon alongside vibrating wires, strings, squeaking magnetic tape, a zither, shakers, a gong and an owl horn. It is based loosely on the performance I gave in Saskatoon for the Sounds Like Festival in October, 2018.

Oct23_2019

scoltyhill