experimental

Pour Rappel, Avatar invite en 1994 des artistes à détourner le téléphone, objet quotidien par excellence, et à l’utiliser comme diffuseur, comme enregistreur ou encore comme lieu d’échange. À titre de balises, Avatar leur pose les questions suivantes : comment transmuter la banalité des échanges sonores qui caractérisent le téléphone? Comment peut-on intervenir sur les sons qui le déterminent et sur les codes d’échange qu’il impose? Cette publication est une appropriation de l’outil téléphonique et une réflexion sur ses caractéristiques propres.

Rappel est un projet qui s’étend sur une période de deux ans au cours de laquelle les artistes occupent une ligne téléphonique réservée au projet, entre le 15 septembre 1994 et le 26 mai 1995. Le 7 janvier 1995, les artistes de Rappel investissent l’émission Les chants magnétiques de Mario Gauthier à la Chaîne culturelle de la Société Radio-Canada. Toutes les expérimentations sont enregistrées et compilées par Christof Migone d’Avatar. Rappel paraît finalement en 1996.

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For Rappel, Avatar invited artists to orchestrate a détournement of the telephone—that epitome of ordinariness—using it to broadcast, record, or host exchanges. To guide the artists, Avatar asked the following questions: How might the telephone’s characteristically banal sound exchanges be transformed? What could be done to its identifying sounds and the codes of communication they impose? Rappel subverts the telephonic instrument and reflects on its fundamental nature.

Rappel was a two-year project. Artists worked with a dedicated phone line between September 15, 1994, and May 26, 1995. On January 7, 1995, they took over Mario Gauthier’s Les chants magnétiques on Radio-Canada’s Chaîne culturelle. Their experiments were recorded and compiled by Avatar’s Christof Migone. Rappel was at last released in 1996. 

The Night Train

Accrochages

krupnik : pianeti

'Only Suggestion' is een soundscape die Dominique 't Jolle maakte voor de installatie Radio Forest in Klankenbos. Het was één van de drie winnende inzendingen van de soundscape-wedstrijd RADIO FOREST NEEDS SOUND (2014).Dominique ’t Jolle laat Radio Forest piepen en kraken langs alle kanten met haar bevreemdende soundscape ‘Only Suggestion’. Gedurende 7 minuten creëert ze een raadselachtige sfeer, waarin niets geclaimd wordt maar alleen ‘gesuggereerd’. Radio Forest laat met deze soundscape zijn aanwezigheid op een subtiele manier voelen in het bos, zonder zich daarmee in de schijnwerpers te zetten.

Dominique 't Jolle - Only Suggestion (2014)

Side A from 'Opgenomen Verantwoordelijkheden' by Vom Grill (Ultra Eczema 186)

Vom Grill : Side A from 'Opgenomen Verantwoordelijkheden'

"But if someone, instead, is of a mind to force music’s secret directly and immediately, with the magic want of primal words, he is left only with empty hands, tautologies, and sentences that, at best, provide formal constituents – if music even has something like a formal a priori .  But the very essence of music will have vanished, usurped by the disposition of language and the concern about its supposed origins.", Theodor W. Adorno, “The Relationship Of Philosophy And Music”

This stereo mix of 4-channel spatial sound installation was created during residency at Q-O2 (http://www.q-o2.be/en/event/daniel-brozek-czarny-latawiec/), includes voice recordings from archives of Parlez-vous Saint-Gillois ? project (http://www.parlezvous1060.be/), Radio Panik (http://www.radiopanik.org/), Radio Campus (http://www.radiocampus.be/), Royal Museum for Central Africa (http://www.africamuseum.be/home/podcasts/index_html) and Brussels field recordings. The installation references are Iannis Xenakis "Concret PH"  with his Philips Pavillon  at EXPO'58 in Brussels and Joseph Conrad "Heart of Darkness".

Concrete BXL

form our next LP 'Trembling Air' 
(released on 26 February 2016 on Other People Records)

http://www.factmag.com/2016/01/21/12z-trembling-air-other-people/



12z - Names Or Labels

I'm really not much of a soccer fan. But I did follow (on television), a large number of the matches of the 2006 World Cup tournament. Most of them actually I found pretty boring, and I would've gladly missed them. But I guess watching a soccer match is a bit like living a life: even when it didn't happen yet, it still could any moment now ; and as long as the game's not over, there's nothing lost - ("Waar leven is, is hoop") - ... So on many of the competition's evenings I started and continued watching until the referee's final whistle sounded ... fantasizing about being out there zoom recording ....

The Dutch national team was sent home in the round of 16, in a lost match against Portugal, which was moderate fun to watch ; not so much for the way the ball was kicked around, but rather for the way anything that moved got kicked, with 4 players dismissed and the game ending nine against nine .

The French team though, against all odds, made it to the final, where they stood up against the Italian team on Sunday July 9th, in Berlin. It was E. Rébus who suggested we'd treat that match in the form of a placard recording, re-mixing live the radio and television reportages. A fine idea, I thought, and a fun way to spend the final's evening. So we set up the “Match Vide” ‘placard’, last minute, as part of the ninth international headphone festival, small, intimate and lo-profile, at my Vincennes home - in the best of placard traditions ...

Thanks to the FIFA, to de Waag for use of their icecast streaming server, all performing participants - Fred Bias, Jean-Marc Montarou [le Rhinoseros], Thomas Sundholm, FlexRex, E. Rébus, HarS - and the fine handful of attentive listeners for making this into a memorable event ...

Artist's Biography:

Harold Schellinx (Maastricht, the Netherlands) is an artist, writer, improvisor and creator of unusual and original musics. As a member of The Young Lions and several other post-punk bands in the Amsterdam of the late 1970s and early 1980s, he was among the initiating forces of the Dutch ‘Ultra’ movement (the purely Dutch version of what has become known as ‘post-punk experimental pop music’). He was co-founder, editor and London correspondent of the Dutch modern music magazine ‘Vinyl’, while pursuing (in Holland, Belgium and the UK) a range of widely acclaimed musical projects. These include “Commuters” – a collaboration with German singer Dagmar Krause (Slapp Happy/Henry? Cow), “Signs & Symptoms” – with Peter Mertens, and a series of ‘pop fictions’ (Bogdan Wlosik, Agonie Ajournée …) – written and produced together with Ronald Heiloo.

Football Sound Narratives

Harold Schellinx: Le Zida Ne Passera Pas Par Moi...

I have always been fascinated by radio sports commentary and the differences between them and their TV counterparts - how the radio commentator is required to provide visual clues for the listener. I’ve also always been struck by the apparent musicality of sports commentaries, particularly horse racing and track athletics with the gradual rise in pitch and intensity and the subsequent fall back to rest position, but also other sporting events with their frequent changes in intensity and the commentator's reaction to them. I wanted to make a piece that would reflect these two aspects and, using recordings of commentaries from sporting events from 2007 (Grand National – horse racing, England v India - cricket, US Open - tennis, France v Argentina - rugby), I was able to use the shape and frequency of events to create a structure for the piece. These sounds (unrecognisable from the original recordings) are interwoven with sounds made by a crowd in a Parisian bar in 2006 when France beat Brazil to get to the finals of the 2006 Football World Cup.

The title alludes to the urban myth which states that this phrase was used in early radio football commentary where a numbered grid representing the pitch was provided for listeners whilst a second commentator would call out the number on the grid where the ball was situated.

Back to Square One was commissioned by l'Institut International de Musique Electracoustique de Bourges, France and composed in Studio Circé at IMEB in April and September 2007.

Artist's Biography:

Pete Stollery is a composer, teacher and performer based in Aberdeen, in the North East of Scotland. He composes almost exclusively in the electroacoustic medium, particularly music where there exists an interplay between the original ‘meaning’ of sounds and sounds existing purely as sound, divorced from their physical origins. In his music, this is achieved by the juxtaposition of real (familiar) and unreal (unfamiliar) sounds to create surreal landscapes. In recent years he has become interested in how we relate to our sonic environment and has created many works for non-performance contexts. His music is performed and broadcast throughout the world and is published by empreintes DIGITALes in Montréal. A solo DVD-A Un Son Peut en Cacher un Autre was released in 2006.

He is currently Head of the Music Department and Professor of Electroacoustic Music and Composition at the University of Aberdeen where he is able to guide school children, students and teachers in the creative use of technology in music education. He is also Artistic Director of discoveries - an occasional series of concerts in Aberdeen which aims to bring together electroacoustic works by school children and students to be performed alongside works by established composers from around the world.

Pete Stollery: Back to Square One

The improvised monologue of a radio announcer in a stadium is a sound event that involves spoken expression of the highest calibre. As they describe the game's plays, announcers are subject to emotional sensations that shape the way they speak. The tension of watching, marked by uncertainty about how the game will progress, generates powerful emotional states that are expressed in physical movements and spontaneous bursts of sound. Seldom does a comparable major event unleash behaviours that are more archaic. Whether one thinks of competitions in the amphitheatres of the ancient world, of Roman gladiators or of the bullfights of Spain - all are epic forms of identification and representative enactment. A form of pagan music arises from the collective rites, with their drumming, horn-blowing and choral chants, whose dynamic is controlled solely by the events. The radio commentaries function via the media network as disseminators, and also symbolise the simultaneous release of emotional energies by thousands of millions of people around the globe. In the installation that this sound piece is part of, the balls stand as metaphors. If we listen in, we hear the resonating space of this world.

Artist's Biography:

Born in 1959 in Hessen (southern Germany), lives in Berlin. 1982-1990 studied Fine Arts in Hamburg with Claus Böhmler and Henning Christiansen. 1992 – 98 gives lectures at the college of Lüneburg in the department of aesthetic & communication. 2002 winner of the first German Sound Art Award, Sculpture Museum Glaskasten, Marl. 2003 Initiator and Curator of the Symposium with exhibitions and concerts “STARLINGS ABOVE BERLIN – Sound Art meets Bioacoustics - on the Aesthetics of Birdsongs”. 2006 Initiator of the project “WORLD CUP’06 - RADIO COMMENTARIES IN NATIVE TONGUE SYNCHRONOUS RECORDINGS”. 2007 Guest lecturer at the University of Fine Arts Berlin, faculty Fine Arts for Sound Art.

Tilman Küntzel: World Cup 2006

Date Composed: August 2008
Duration: 10 mins.
Performers: Damian Rose (voice), Glenn Boulter (texts), Francis O'Donnell Smith (music and production), David Dhonau (Cello), Ola Szmidt (Flute)

An Unorthodox 1-2 is a spoken word and music composition commissioned by Bifocals Community Arts and the Arts Council England as part of a residency at Barrow Athletic Football Club in 2008. It combines field recordings, spoken word, and instrumental material to explore the aural environment of a non-league football match from the physical sounds of the game to the emotional response of the crowd and the acoustics of the site.

Inspired by his visits to the Holker Street ground, artist Glenn Boulter produced a series of texts that were later recorded with Barrow-based actor Damian Rose. Drawing on early experimental radio dramas, these fragmentary monologues combine adverts for defunct local businesses, found text from old programmes and descriptions of local geography.

Edited and looped, the spoken texts formed the starting point for three instrumental pieces, performed by Francis O’Donnell Smith (guitar, laptop, production), David Dhonau (cello, bass) and Ola Szmidt (flute). Combined, the two elements attempt to capture the unique aura of match day in a South Cumbrian town and to make explicit the idea of the game as a performance in its own right.

Performances of the piece have taken place at Holker Street stadium and various venues around Cumbria as well as appearing as part of the alternative opera festivals Grimeborn at the Arcola Theatre and Firsts at the Royal Opera House Linbury Theatre. A recording of the piece was also made available as a limited edition hand-packaged CD.

Artist's biography:

Glenn Boulter is a visual artist, musician and producer based in Cumbria, UK. He organises events as a director of the artist-led organisation Octopus and performs regularly as a member of improvising collective Aurelie.

Octopus was formed with in 2009 with the aim of organising cutting edge experimental music events in Cumbria and the North West. Octopus' first project was “Full of Noises”, a seven day festival that invited four international artists to respond to the environment of Barrow's shipbuilding district. The resulting works by Haco, Susan Matthews and Mobile Radio were presented during a weekend which also featured performances from Faust, Pram, John Wall and Richard Youngs. Residencies for 2010 are scheduled for cellist/composer Hildur Gudnadottir ad Antye Greie (AGF).

Aurelie events have taken place in galleries, art centres, theatres and other unusual spaces such as a football ground, a corporate bank and Kurt Schwitters' Merzbarn in Ambleside. Recent shows have included two nights at the Royal Opera House Linbury Theatre and support slots with Volcano the Bear and Anti-Pop Consortium.

Current projects include creating a sound installation for the NHS Hull Wilberforce Centre with community and patient groups, as well as co-producing a series of music events with FACT and the Liverpool Biennial as part of the PRS New Music Plus scheme.

Glenn Boulter / Aurelie: An Unorthodox 1-2

Yannick Dauby returns to Discrepant for Vol2 of his ongoing study of the sounds and sights on the Penghu Archipelago, Taiwan.

Penghu Experimental Sound Studio Vol2 uses interviews, field recordings, found objects and subtle electronic manipulation to transpose Yannick's impressions of the island's natural beauty.  

More info at www.discrepant.net

Yannick Dauby - 咾咕厝 ló-kó͘ -chhù (LP Excerpt)

Coming back to my Nodar sounds after a year and a half, some elements have faded out while others, unnoticed before, have come to light. My Nodar landscape has turned distant and nocturnal... Obviously things change as time goes by, but this also applies to sounds and it’s not only a poetic cliché... Well, as long as your hard drive crashes once in a while so as to give that fallible human touch to the remembering machines that recorders and computers are. 

Sounds recorded in and around Nodar in June of 2008. Composed at La F* de B* in 2010.

Pali Meursault: Pleine Lune

Senoide Oh! Senoide 1

Broadcast on FBi 94.5FM, Sydney on 23rd April 2006

Part1 - human (15m20s)
Part2 - industrial (16m43s)
Part3 - nature (17m42s)

This week on SNATM, join us on a tramp through the creative commons of phonography as we traverse the diverse sounds of six continents on an ever-changing aural exhibition of free recordings contributed to the wonderful "sound transit" website.

Compiled by Nick Mariette using original field recordings downloaded from SoundTransit, which are licensed under a Creative Commons Attribution 2.0 license.

Field recordings used were by: Derek Holzer, Aaron Ximm, John Grzinich, Maxim Shentelev, Planktone (aka Ward Weis), Jarra Schirris, Anna Friz, Marcello Mercado, Cedric Peyronnet, Rob Curgenven, Dallas Simpson, James Dunn, Takasaki Ryosuke, Keith de Mendonca, John Hopkins, Nick Mariette, Sean ONeill, Justin Hardison, Alessandro Bosetti, Toby Sinkinson.

Sound Transit remix for Sunday Night At The Movies on FBi Radio 94.5, Sydney, Australia.

Part 2 – Industrial

A repetitive piece inspired by gamelan music. The piece is composed with SuperCollider, a tenori-on and gamelan samples.

Released on the tape / digital album 'Minnowahaw' avaiable on OGGY RECORDS:
https://viezecocktails.bandcamp.com/album/minnowahaw

gamellaxarksky - MINNOWAHAW NOW OUT ON OGGY RECORDS

Two song preview of Tasos Stamou electroacoustic music project ‘Musique con Crète’.

more info at www.discrepant.net

Musique Con Crete

Tasos Stamou - Vasiliki (from Musique con Crète LP)

One track preview of Panchasila tape on Sucata Tapes (Discrepant). 

More info on each tape here: http://www.discrepant.net/categories/sucata-tapes

Panchasila

Panchasila - Salt (from Panchasila Tape)

Preview of Los Siquicos Litoralenõs tapes on Sucata Tapes (Discrepant)

More info on each tape here: www.discrepant.net/categories/sucata-tapes

experimental

Sebastian Dingens