3:33

3:33 (disquiet0480)

Disquiet

Hard 2 C

9. drainpipes-Brussels250913

Performed by Ben Clark and Antonin Granier on 13.6.19 at LOOSE, LINE, LAYER in St. Mary-at-Hill, London.

The piece invites a child-like curiosity towards the instrument, and simply investigates its sonic possibilities. The materials arose from working collaboratively with percussionists Ben Clark and Antonin Granier. The first movement explores flexibility, the second looping elements, the third resonance.

Piece for three tuned cowbells (2019)

WOUUDU

The basic tracks for some of these songs were scattered through other music I had recorded over the last ten years.  Quarantine has given me the time to hear some of this music with fresh ears. In most instances dozens of instrument tracks were stripped away to find some forgotten core that made me nod or smile.  Then I started again.  All new recording has been done since the start of lock down and tries to put a sound on the subtle dislocation of a global disaster that is mostly (for me) expressed in my daily life as an absence, a taking away rather than a presence; a distantly felt thing.  

All tracks recorded and mixed at Shadowbear Studio.  Mastering at Black Knoll Studio.  Photo taken by Csilla Varadi.

Elegy For Patient Zero

Synanunis

Marco Lucchi Piano Patterns No 1 Rework Henrik Meierkord

One Hundred Years for voices, orchestra and electronics (2020)by 
Yannis Kyriakides

Commissioned by Gaudeamus to celebrate its 75th anniversary 
Premiere 19th September 2020 by the Netherlands Radio Philharmonic Orchestra & Silbersee conducted by
Karina Canellakis, NTR ZaterdagMatinee, Concertgebouw, Amsterdam. Live broadcast and recording by NPO radio 4.

One Hundred Years (premiere)

"There is so much going on in this track, a British field recording presumably recorded recently. Something about the suggestion of that time sync makes it feel physically proximate, too, even if it’s far away from wherever the listener might be. And even if nothing in it is, technically, “alive,” in the sense that an animal might be alive, it is nonetheless very much alive. This is “Underwater Stream” by Landsounds, the name under which London-based John Hooper captures audio of the everyday and, as happens here, reveals the complexity inherent in it. In these mere two and a half minutes, there is gurgling, certainly, and droning, yes, and a hum that makes the the droning seem like its trebly by comparison, and other sounds (rope against wood?) that creak like dolphins speak. None is isolated from the others. They are in sync in their own manner. And then there’s that slow heartbeat of a pulse at the start and just before the end. It’s enough to make you think it’s been a bit of ambient techno all along." Thanks to Marc Weidenbaum from Disquiet who has said it far more eloquently than I could.

Underwater stream.

Sylvia Lim is a composer based in the UK. Her works are intimate, exploring a small amount of material in depth. She is interested in the materiality of sound, notions of close listening, perception, rawness and instability.