This recording by William Parker is a solo recording from June 2014 at les ateliers claus.
Willam Parker has been a fiery and creative fountain of consistent improvisational brilliance. William Parker never disappoints and his solo performances are a luxury to all those fortunate enough to appreciate the gift of sound.

William Parker was born Bronx, New York City. He was not formally trained as a classical player, though he did study with Jimmy Garrison, Richard Davis, and Wilbur Ware and learned the tradition. Parker is one of few jazz bassists who regularly plays arco. He also plays several other instruments from around the world, including the West African kora.

While Parker has been active since the early 1970s; he has had a higher public profile since the early 1990s. William Parker first came to public attention with pianist Cecil Taylor. He has long been a member of saxophonist David S. Ware's quartet and in Peter Brötzmann' s groups.
He is a member of the cooperative Other Dimensions In Music. Together with his wife organizes the annual Vision Festival in New York City.

Recorded by Etienne Foyer, 18th June 2014.

LAC015 - William Parker Live Ateliers Claus "Part 2"

Short segment taken from: The Infra-Quark Universe based on Felix Guattari's script for a science fiction film for Hollywood. (1980'ies).

Guattari's Radio Screenplay for The Infra-Quark Universe

Extrait d'une performance de P-Node à Berlin : lecture du texte généré par un logiciel de reconnaissance vocale branché au flux radio.

Performance radiophonique de P-Node à Berlin

Arnaud Rivière & Mat Pogo : Sunday Morning Live at π-node radio (Berlin - jan.14)


2min 35 (2014) 
Sound installation made with radios. 
A limited edition of vinyl records, and stickers were also produced for the occasion. 

In the 1950s and 60s a scientific report compiled by the record industry stated that teenagers, due to their very short attention span, were unable to listen to a piece of music that lasted more than 2 minutes 50 seconds. This is perhaps one of the reasons that rock’n’roll and pop songs from that period only last around 2 minutes 35. 
In 1967 Sylvie Vartan sung the song “2 minutes 35 de bonheur” (‘ 2 Minutes 35 of pleasure‘) 
With this in mind we decided to make life - and listening to music - easier for the ageing adolescents of yesteryear. We sampled hits from the 1960s and 1970S, some are easy to recognise, others not. We then played these loops on radios and ghettoblasters in different places around Paris. Whilst the loops were being played DinahBird, in the manner of a radio continuity announcer, filled in the pauses and described what she saw going on around her. 

We call them : Pop Field Recordings.


2min 35, was commissioned for the group exhibition “Reformer le Monde Visible” au centre d’art Le 116 in Montreuil, Greater Paris. 

Curator : Marlène Rigler
Sticker artwork : Coraline Janvier. 


2min 35  - Kunstradio edit by DinahBird & JP Renoult

Jon Ciliberto
Radio Works
54:49

Jon Ciliberto’s Radio Works is composed of five pieces: Radio Ethnographer; Radio Trio; Two Circles of FM Feedback, Related; Radio Centipede; and Three Part Frequency. The first uses radio as a method of ethnographic encounter, while the remaining four utilize short-range FM transmitters and radios as instruments.

I. Radio Ethnographer (21:49)

Radio is often public in other ways. For instance, when radio inside a car is often audible from outside the car. This ethnographic survey uses this overlap between public and private radio to discover the radio culture of a particular time and place. For an hour during rush hour in Atlanta, GA, Ciliberto took an audio survey of the radio escaping from the private cars of myriad drivers. Many drivers willingly let him get close to their radios and capture them quite intimately; in other instances, the radio spills from cars and intermixes with ambient noise.

II. Radio Trio (04:54)

A simple exploration of the sonic possibilities of short range FM transmission.

1. One handheld radio’s audio output is sent to a short range FM transmitter.
2. A second radio is tuned to the transmitter’s FM frequency.
3. Moving the first radio nearer or closer to the second creates FM radio effects.
4. A stereo in the room picks up the transmission; audible through room speakers.

III. Two Circles of FM Feedback, Related (06:17)

1. Two wireless FM intercoms (left and right), are placed near enough to feedback with one another.
2. First radio (left) is tuned to 108.0 MHz; short range FM transmitter is plugged into its audio out, transmitting at 108.0 MHz.
3. Second radio (right) is tuned to 108.0.
4. Right FM intercom also picks up second radio’s sound and transmits it to left intercom.
5. Variations are created by tuning the radio dials, adjusting the intercoms’ volumes, and moving the devices physically.

IV. Radio Centipede (06:47)

For Radio Centipede, Ciliberto created feedback by tuning a radio to a frequency, then plugging a short-range FM transmitter set to that same frequency into the radio’s audio output. Here, this arrangement is repeated three times, with the resulting audio recorded from the last radio in the chain. In this recording each radio is tuned very lightly throughout, moving around the transmission/reception frequency.

V. Three Part Frequency (14:04)

1. Three instruments, each transmitting to the same FM frequency. Resulting recording is from one radio.
2. Three instruments, each transmitting to a different FM frequency. 
3. Resulting recording is from three separate radios.

Instruments:

Korg Microkorg >> 87.7 MHz >> Sony ICF 7601
Roland Juno 60 >> 107.9 MHz >> Panasonic RC-X220
Casio SK-1 >> 102.0 MHz >> Degen DE1125

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Episode 67: Jon Ciliberto (Radio Trio)

Robe rehearsal 181017

YouTube version here 
https://youtu.be/KNkjA08G7PI

Patch I made the other day in the style of Penderecki

performingVHS@NUB_10.03.19

Michael Renkel - electronics and guitar
Nicolas Wiese - electronics and feedback

unmixed rehearsal recording (excerpt), May 2020

THE QUIET CUE - Renkel/Wiese - Rehearsal Excerpt May2020

A version of the soundscape produced by three balloon-assisted kite tail sound systems for the Air Matters exhibition, Waterman's Gallery, London 2019.

Ascending Composition 1 (For Planes) representative soundscape - Kate Carr

From LAL-102 - Red Brut - Cloaked Travels LP.

Following her debut LP (KRAAK, 2018) and a string of tapes and 7-inches, Red Brut drops her second album, Cloaked Travels. It is a joined release by the Finnish labels Ikuisuus and Lal Lal Lal.  

In many aspects, Cloaked Travels is an amazing realisation of what Red Brut does best: molding the absurd, the amateurish, and the crude into beautiful and elegant sound pieces. These eight “songs”, organised in two suites, dwell between abstract avant-garde and pop sensibility. Working with cassette tapes, Red Brut enhances the ambiguous qualities of her sounds with the warm distortion and background hiss typical of the medium. The music leaves the listener to him- or herself, happily lost in small universes that contain many layers of beauty, discomfort, and intimacy.  

Susan Sontag once claimed that diaries, despite secretly kept by the author, are meant to be read by others. Red Brut’s intimate and highly personal take on musique concrète is characterised by a homely feeling: sounds of doors, kids outside her house, a synth that sounds like a house pet, muffled whispers of her voice. Her compositions sound like you are secretly reading her diary. You are in the uncomfortable position of watching someone chasing her own tail, unaware of the fact that she is being the object of our gaze.  

Unaware? Cloaked Travels displays on a certain point the sound of a squeaking door. Over and over until it starts sounding like a wild free jazz solo. Is Verbiesen playing tricks on our minds? Is she actually the Unconsciously Watched? Or is she cloaked as that character, and in fact very well aware that we are peeping into her inner emotional universe; maybe she is even projecting a fake version of what sounds like here day-to-day, intimate environment — making us conscious of our own gaze? Again Sontag comes to mind: she deliberately projected a well-constructed character in both her diaries as in public life.  

Cloaked Travels contains distinct and carefully composed pieces that play upon the tension between the concrete and the abstract. Every song acts like a Cave of Plato: we are unable to see what is actually happening, we only see the shadows of a door moving or the sounds of someone gurgling. The album suggests some fundamental questions: is what we conceive as reality nothing but a derivative of the Ideal? Is there really something behind the shadow, or is the shadow the actual reality?  

- text by Niels Latomme  credits released July 3, 2020

Music & artwork by Marijn Verbiesen. 
Final montage by Michiel Klein. 
Mastered by Samuli Tanner.

Red Brut - Songs for Another World I

Splinters as a composition has a dream like quality, dark and enigmatic. Electronic noise colours the drone and bubbling soundscapes of a somewhere. Repeating musical phrases mix with recognisable sounds from life - a spoken utterance, a rumbling train. As a listener you drift with the current through misty scenes, on a journey down a river towards some marshland on the edge of an urban sprawl.

Made in response to an invitation from TACO! - an artist space in Thamesmead in South East London - Splinters documents Kate Carr’s relationship with that space, and the area of London it is located in. Over an 18 month period Kate kept a growing sonic diary of her journeys to the space from her home, her construction of work in the gallery, her wanderings around the green spaces and urban architecture, the coming and goings of visitors and the artistic material from other artists and musicians working at the space. This work is a sonic portrait of a time and a place, and the actions and events within it.


Splinters includes audio samples from concerts and exhibitions held at TACO! Featuring material from live sets by Liz Helman, Tom White, Rebecca Lennon, Pouya Ehsaei, Jonathan Higgins and Hannah Dargavel-Leafe, and audio material from the exhibitions Scratch! by George Barber, and Heavy View by Laura Yuile.

Mat Jenner, director, TACO!
--------------------------------------
Mastered by Simon Scott at SPS Mastering.
Design by Louise Mason.
A huge thanks to Liz Helman, Tom White, Rebecca Lennon, Pouya Ehsaei, Jonathan Higgins and Hannah Dargavel-Leafe for permission to use short excerpts of audio material from their wonderful live sets, and to George Barber and Laura Yuile for access to audio from their installations. 
Also massive thanks to Mat Jenner for inviting me to TACO in the first place!

Detritus Clouds from Splinters out Sept 3

spelling

Sarah Nemtsov
"Wolfsgesänge" (2019)
for amplified cello solo with electronics [and video (ad libitum)]
in memoriam Wolfgang Zamastil
*
Sonja Lena Schmid (cello, decoder ensemble) -
*
LISTENING WITH HEADPHONES recommended
*
picture: videostill (& photo) by Rosa Wernecke and Heinrich Horwitz

Wolfsgesänge (2019) Cello solo - EXCERPT

Radius is an experimental radio broadcast platform established in 2010 in Chicago, Illinois, United States. Radius produces, exhibits, and distributes work by radio and transmission artists from around the world.

Radius features a new project monthly with statements by artists who use radio as a primary element in their work. Radius provides artists with live and experimental formats in radio programming. The goal is to support work that engages the tonal and public spaces of the electromagnetic spectrum.

Episode 67: Jon Ciliberto (Radio Trio)

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