Frenetic Neutralist

Demos

At Ease

Release date: 27.05.2022

Martin Taxt – microtonal tuba, hand bells, composition
Rolf Erik Nystrøm – alto saxophone, hand bells
Laura Marie Rueslåtten – organ, hand bells
Inga Margrete Aas – double bass, hand bells
Peder Simonsen – microtonal tuba, hand bells, modular synthesizer

Second Room is Taxt’s second album in a series of works investigating possible relations between music and architecture. In this work written for alto saxophone, two microtonal tubas, double bass, church organ, hand bells and modular synthesizers he is inspired by the Japanese architect Sou Fujimoto, and his ideas on different concepts of living. 

In a lecture at the Harvard University in 2011, Fujimoto sets up a comparison between the nest and the cave, as two fundamentally different ways of living concepts. Whereas the nest represents safety, conformity and predictability, a space designed for people, the cave on the other side represents the unknown, a naturally shaped space, not designed for the purpose of living. It can be uncomfortable to enter the dark cave but spending time inside one can gradually start to adapt to the space. By rethinking our concept of space and the relation between space and human body we will eventually discover different functionalities within the cave and innovate new functions in the already designed space. 

(…)A grid system with 36 pitches was the starting point of the composing process. Imagining the grid as a cave, I made 3 different paths through the grid as if I was exploring the cave. These three melodies became the outline for this composition. On ‘Disruption, disjunction, deconstruction’ the musicians are exploring the 36 pitches independently, as if, quoting Fujimoto; finding their own small favourite comfortable places inside the natural cave(…)

Martin Taxt: disruption, disjunction, deconstruction from Second Room

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7 - Mag.K. : Dechk. - "Дежавю"

pre-orders available now via IMPREC.comIn 1970 Harry Bertoia had been developing his sonic sculptures for over ten years. He had only been composing/recording for two years and the four long pieces chosen for this CD find him starting to arrive at the sonic forms he had been searching for.

Hints Of Things To Come is one of the most unique and melodic pieces discovered so far in the Bertoia tape archive. In this piece we hear him slowly create and articulate a musical riff.  Bertoia builds this phrase patiently until the composition reaches an intense climax where the riff is played heavily and distinctly.

7 ½ & 7 ½ Combined, another historic standout, is one of the earliest examples of Bertoia overdubbing by playing a tape and then performing along to the playback.

This CD is defined by ambient passages, long drones, gongs that sound like whales, shimmering harmonics and the feeling of an artist searching for sounds deep within his own sonic sculpture.

Hints Of Things To Come

Harry Bertoia  "Hints Of Things To Come" CD - release date 12.16.22

You can download this track for free or name your price here: https://myblueeyedghost.bandcamp.com/album/sparks

Cavern

‘Plateau’ is a auditory time-lapse history of Scotland’s Cairngorm high plateau. It is composed of four sections corresponding to the fluctuations of cold (Stadial) and warmer (Interstadial) climatic conditions: 

(1) The Last Glacial Maximum / (Late) Dimlington Stadial (27,000 to 16,000 BP)
(2) The Late-Glacial Interstadial (c.14,670 to 12,900 BP)
(3) The Loch Lomond Stadial (12,900 to 11,700 BP) 
(4) The early Holocene (11,700 to c.9,000 BP)

‘Plateau’ is part of ‘Looking Up’, a research project focusing on the post-glacial landscape, archaeology and heritage of the Scottish Uplands, led by Sam Kelley (University College of Dublin, School of Earth Sciences), Graeme Warren (University College Dublin, School of Archaeology) and Alice Doughty (University of Maine, School of Earth and Climate Sciences). 

The technique used to determine the timing of deglaciation on the high plateau involved project scientists collecting samples of rock containing quartz grains — a common mineral that is resistant to weathering. The rock samples were crushed, pulverised, sieved and sorted, before being subject to magnetic and mineral separation in order to isolate the quartz grains which contain ‘cosmogenic nuclides’ from the other minerals that make up the rock. In turn, these nuclides provided a direct means of timing their prehistoric exposure to cosmic radiation as the overlying cover of ice finally melted. In total, these samples give us a picture in space and time of the former glaciers in the Cairngorms in the face of warming post-glacial climate.

This process of sample collection and analysis directly informed the composition of ‘Plateau’. Stones from the locality were collected and their surface interactions recorded at high frequency sample rates. The resulting waveforms were then subjected to granular analysis, so that ‘single-cycle waveforms’ displaying tonal characteristics could be isolated and extracted. These grains of sound became the foundation of the musical composition.

https://www.ucd.ie/archaeology/research/lookingup/

‘Looking Up: the future of early prehistoric heritage in Europe’s mountains’ is funded by the Irish Research Council’s COALESCE programme 2021–2023 (IRC COALESCE/2021/78) and is coordinated by University College Dublin’s School of Archaeology and School of Earth Sciences, with partners in University of Maine, Purdue University (both USA) and Aberdeenshire County Council.

https://www.richardskelton.net/land-music/plateau

Plateau

DF TRAM AND CANOPY OF STARS  PRESENT 70 MINUTES OF NEW MUSIC FROM THE DEEP...THE UPSWEEP OUT NOW 

https://dftram.bandcamp.com/album/the-upsweep

DF TRAM AND CANOPY OF STARS "THE UPSWEEP" preview

This track was created for the Naviar Haiku group.
537
https://www.naviarrecords.com/naviarhaiku537-deep-in-the-mountains/

2024-04-18

Deep In The Mountains  ( Naviarhaiku 537 )

Echo of Species 13 - Felicity Mangan

@felicity-mangan
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This episode - ‘Marsh’aphonics - features selected tracks by Pauline Oliveros, Knud Viktor, Olli Aarni, Vlad Dobrovolski, Heidrun Schramm, Native Instrument (@native-instrument), Marja Ahti (@marjaahti), Andrew Pekler (@pekler), Lag Os (@lag-os), HMOT (@hmotology) and Tomoko Sauvage(@tomokosauvage).

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Felicity Mangan's words:
"Wetlands such as small ponds, marshlands, swamps and lakes provide habitats for many of the
world's existing, new and endangered aquatic and terrestrial species.
During the recent lockdown situation l have taken long bike rides inside of the Berlin borders
discovering many tracks along canals, rivers and wetlands inhibiting an amazing biodiversity of
lush flora and fauna during the spring season. I also recently discovered that the name Berlin
roots from previous West Slavic inhabitants berl-/birl- "swamp".
Inspired by these local biotopic explorations I have created a mix featuring my own music that is
influenced and populated by wetland species while including many other artists I have
discovered who have created music inspired by aquatic phenomena or the voices of species
that habitat these wet landscapes."
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To know more about Felicity Mangan:
Felicity Mangan is an Australian sound artist and composer based in Berlin, Germany since 2008. In different situations such as solo performance, collaborative projects with other musicians or installation, Felicity plays her found native Australian wildlife archive and other field recordings, either through a stereophonic system or often via hand-made speakers made with piezo transducers and found objects – exploring the timbre and forms of found and self-recorded animal voices while mimicking biophonic patterns to create minimal quasi-bioacoustic environments. 

Felicity has recently played in collaborative projects Native Instrument (Shelter Press, Entr’acte) presenting electro-acoustic bug beats with vocalist Stine Janvin Joh and Plants and Animalia with Christina Ehrl Shirley – grafting live and pre-recorded drones produced by remnants of plant biochemistry together with modified animal voices. Felicity has also released a solo publication on Longform Editions titled Stereo’frog’ic, a play on the word stereophonic –  presenting a sound piece, crafted from found recordings of frogs, insects and other ‘vocal’ animals wavering about in a stereo field. Felicity has presented projects in many different settings from galleries, gardens, clubs and festivals throughout Europe. Including National Gallery Denmark, Technosphärenklänge CTM/HKW and Sonic Act Academy 2020.

You can support the artist here: 
www.felicitymangan.org

🌳1x tree has been planted to balance the carbon footprint of this upload (Project Povo da Floresta).

Echo of Species 13 - Felicity Mangan

Part 4 of my Ambient mix series. Recorded (late) Winter 2013

Ambient04

SOFA is a Norwegian record label for experimental music run by musicians Martin Taxt, Ingar Zach and Kim Myhr.

Martin Taxt: disruption, disjunction, deconstruction from Second Room

SOFA

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