Name: So Near Yet So Far by Toby Roberts in New & hot: Ambient
Duration: 2 min 32 s
Description: https://open.spotify.com/artist/7qyOQRvFZPkxlVzXDuE6Ne

New & hot: Ambient

TRACE–E (Transitioning to a Circular Economy for Electronic Waste) is a project which aims to inform and change behaviour about eWaste – one of the fastest growing waste streams in the world. TRACE–E combines music and art with science and the environment in an attempt to trigger societal change.

The project involved Robin Browning (as Musician-in-Residence) working in close collaboration with environmentalists and researchers in fields such as waste management, semiconductor technology, and optical fibre. By exploring their work, alongside the responses of other artists to this global issue, Browning fused music, sound and science into the tracks you hear on this album. 

Browning took telephone and smartphone sounds, manipulating and looping them into ambient textures and recycling rhythms, thereby embodying the concept of the circular economy in music. If you listen carefully, you can also hear voices, close mic’d samples of micro chips, and other electrical noises. The final performances utilised piano, felt piano, keyboards, and Ableton Live, alongside professional string and percussion players. Also on stage was a dancer (controlling the sound via cutting-edge tech), two young writers (weaving their words over the top of the sound) and a looping video installation.

The musical result stretches from the melancholic to the quirky and uplifting, with a sound world rich in texture and variety. But no matter the style, nearly all tracks are based on at least one sound from the smartphone, that most ubiquitous emblem of eWaste.

TRACE–E was made possible due to generous funding from the Engineering & Physical Sciences Research Council IAA at University of Southampton

Composer & Performer – Robin Browning
Vocal Samples – Anca Campanie

Voice & Chime (live-sampling demo)

TRACE–E (Transitioning to a Circular Economy for Electronic Waste) is a project which aims to inform and change behaviour about eWaste – one of the fastest growing waste streams in the world. TRACE–E combines music and art with science and the environment in an attempt to trigger societal change.

The project involved Robin Browning (as Musician-in-Residence) working in close collaboration with environmentalists and researchers in fields such as waste management, semiconductor technology, and optical fibre. By exploring their work, alongside the responses of other artists to this global issue, Browning fused music, sound and science into the tracks you hear on this album. 

Browning took telephone and smartphone sounds, manipulating and looping them into ambient textures and recycling rhythms, thereby embodying the concept of the circular economy in music. If you listen carefully, you can also hear voices, close mic’d samples of micro chips, and other electrical noises. The final performances utilised piano, felt piano, keyboards, and Ableton Live, alongside professional string and percussion players. Also on stage was a dancer (controlling the sound via cutting-edge tech), two young writers (weaving their words over the top of the sound) and a looping video installation.

The musical result stretches from the melancholic to the quirky and uplifting, with a sound world rich in texture and variety. But no matter the style, nearly all tracks are based on at least one sound from the smartphone, that most ubiquitous emblem of eWaste.

TRACE–E was made possible due to generous funding from the Engineering & Physical Sciences Research Council IAA at University of Southampton


Composer – Robin Browning
String Arrangements – Rowan Baker
Sound Design – George Pertwee

Piano, Ableton Live – Robin Browning
Violins – Marike Kruup & Anca Campanie
Cello – Austen Scully
Percussion & Ableton Live – George Pertwee
Ableton Live – Rowan Baker
Speakers – Sofia Mykulynska & Lara Prince

Recorded live at Turner Sims, Southampton
Recording Engineer – Tim Hands

Finale (live)

TRACE–E (Transitioning to a Circular Economy for Electronic Waste) is a project which aims to inform and change behaviour about eWaste – one of the fastest growing waste streams in the world. TRACE–E combines music and art with science and the environment in an attempt to trigger societal change.

The project involved Robin Browning (as Musician-in-Residence) working in close collaboration with environmentalists and researchers in fields such as waste management, semiconductor technology, and optical fibre. By exploring their work, alongside the responses of other artists to this global issue, Browning fused music, sound and science into the tracks you hear on this album. 

Browning took telephone and smartphone sounds, manipulating and looping them into ambient textures and recycling rhythms, thereby embodying the concept of the circular economy in music. If you listen carefully, you can also hear voices, close mic’d samples of micro chips, and other electrical noises. The final performances utilised piano, felt piano, keyboards, and Ableton Live, alongside professional string and percussion players. Also on stage was a dancer (controlling the sound via cutting-edge tech), two young writers (weaving their words over the top of the sound) and a looping video installation.

The musical result stretches from the melancholic to the quirky and uplifting, with a sound world rich in texture and variety. But no matter the style, nearly all tracks are based on at least one sound from the smartphone, that most ubiquitous emblem of eWaste.

TRACE–E was made possible due to generous funding from the Engineering & Physical Sciences Research Council IAA at University of Southampton

Composer – Robin Browning
String Arrangements – Rowan Baker
Sound Design – George Pertwee

Felt Piano, Ableton Live – Robin Browning
Violins – Marike Kruup & Anca Campanie
Cello – Austen Scully
Percussion & Ableton Live – George Pertwee
Ableton Live – Rowan Baker
Speakers – Sofia Mykulynska & Lara Prince

Recorded live at Turner Sims, Southampton
Recording Engineer – Tim Hands

Dance 2 (live)

TRACE–E (Transitioning to a Circular Economy for Electronic Waste) is a project which aims to inform and change behaviour about eWaste – one of the fastest growing waste streams in the world. TRACE–E combines music and art with science and the environment in an attempt to trigger societal change.

The project involved Robin Browning (as Musician-in-Residence) working in close collaboration with environmentalists and researchers in fields such as waste management, semiconductor technology, and optical fibre. By exploring their work, alongside the responses of other artists to this global issue, Browning fused music, sound and science into the tracks you hear on this album. 

Browning took telephone and smartphone sounds, manipulating and looping them into ambient textures and recycling rhythms, thereby embodying the concept of the circular economy in music. If you listen carefully, you can also hear voices, close mic’d samples of micro chips, and other electrical noises. The final performances utilised piano, felt piano, keyboards, and Ableton Live, alongside professional string and percussion players. Also on stage was a dancer (controlling the sound via cutting-edge tech), two young writers (weaving their words over the top of the sound) and a looping video installation.

The musical result stretches from the melancholic to the quirky and uplifting, with a sound world rich in texture and variety. But no matter the style, nearly all tracks are based on at least one sound from the smartphone, that most ubiquitous emblem of eWaste.

TRACE–E was made possible due to generous funding from the Engineering & Physical Sciences Research Council IAA at University of Southampton

Composer – Robin Browning
String Arrangements – Rowan Baker
Sound Design – George Pertwee

Felt Piano – Robin Browning
Violins – Marike Kruup & Anca Campanie
Cello – Austen Scully
Percussion & Ableton Live – George Pertwee
Ableton Live – Rowan Baker
Speakers – Sofia Mykulynska & Lara Prince

Recorded live at Turner Sims, Southampton
Recording Engineer – Tim Hands

Dance 1 (live)

TRACE–E (Transitioning to a Circular Economy for Electronic Waste) is a project which aims to inform and change behaviour about eWaste – one of the fastest growing waste streams in the world. TRACE–E combines music and art with science and the environment in an attempt to trigger societal change.

The project involved Robin Browning (as Musician-in-Residence) working in close collaboration with environmentalists and researchers in fields such as waste management, semiconductor technology, and optical fibre. By exploring their work, alongside the responses of other artists to this global issue, Browning fused music, sound and science into the tracks you hear on this album. 

Browning took telephone and smartphone sounds, manipulating and looping them into ambient textures and recycling rhythms, thereby embodying the concept of the circular economy in music. If you listen carefully, you can also hear voices, close mic’d samples of micro chips, and other electrical noises. The final performances utilised piano, felt piano, keyboards, and Ableton Live, alongside professional string and percussion players. Also on stage was a dancer (controlling the sound via cutting-edge tech), two young writers (weaving their words over the top of the sound) and a looping video installation.

The musical result stretches from the melancholic to the quirky and uplifting, with a sound world rich in texture and variety. But no matter the style, nearly all tracks are based on at least one sound from the smartphone, that most ubiquitous emblem of eWaste.

TRACE–E was made possible due to generous funding from the Engineering & Physical Sciences Research Council IAA at University of Southampton

Composer – Robin Browning
String Arrangements – Rowan Baker
Sound Design – George Pertwee

Piano, Ableton Live – Robin Browning
Violins – Marike Kruup & Anca Campanie
Cello – Austen Scully
Percussion & Ableton Live – George Pertwee
Ableton Live – Rowan Baker
Speakers – Sofia Mykulynska & Lara Prince

Recorded live at Turner Sims, Southampton
Recording Engineer – Tim Hands

Engaged Tone 2 (live)

Engaged Tone 1 (live)

TRACE–E (Transitioning to a Circular Economy for Electronic Waste) is a project which aims to inform and change behaviour about eWaste – one of the fastest growing waste streams in the world. TRACE–E combines music and art with science and the environment in an attempt to trigger societal change.

The project involved Robin Browning (as Musician-in-Residence) working in close collaboration with environmentalists and researchers in fields such as waste management, semiconductor technology, and optical fibre. By exploring their work, alongside the responses of other artists to this global issue, Browning fused music, sound and science into the tracks you hear on this album. 

Browning took telephone and smartphone sounds, manipulating and looping them into ambient textures and recycling rhythms, thereby embodying the concept of the circular economy in music. If you listen carefully, you can also hear voices, close mic’d samples of micro chips, and other electrical noises. The final performances utilised piano, felt piano, keyboards, and Ableton Live, alongside professional string and percussion players. Also on stage was a dancer (controlling the sound via cutting-edge tech), two young writers (weaving their words over the top of the sound) and a looping video installation.

The musical result stretches from the melancholic to the quirky and uplifting, with a sound world rich in texture and variety. But no matter the style, nearly all tracks are based on at least one sound from the smartphone, that most ubiquitous emblem of eWaste.

TRACE–E was made possible due to generous funding from the Engineering & Physical Sciences Research Council IAA at University of Southampton

Composer, Vocal Samples & Performer – Robin Browning

Robin Sings (original version)

TRACE–E (Transitioning to a Circular Economy for Electronic Waste) is a project which aims to inform and change behaviour about eWaste – one of the fastest growing waste streams in the world. TRACE–E combines music and art with science and the environment in an attempt to trigger societal change.

The project involved Robin Browning (as Musician-in-Residence) working in close collaboration with environmentalists and researchers in fields such as waste management, semiconductor technology, and optical fibre. By exploring their work, alongside the responses of other artists to this global issue, Browning fused music, sound and science into the tracks you hear on this album. 

Browning took telephone and smartphone sounds, manipulating and looping them into ambient textures and recycling rhythms, thereby embodying the concept of the circular economy in music. If you listen carefully, you can also hear voices, close mic’d samples of micro chips, and other electrical noises. The final performances utilised piano, felt piano, keyboards, and Ableton Live, alongside professional string and percussion players. Also on stage was a dancer (controlling the sound via cutting-edge tech), two young writers (weaving their words over the top of the sound) and a looping video installation.

The musical result stretches from the melancholic to the quirky and uplifting, with a sound world rich in texture and variety. But no matter the style, nearly all tracks are based on at least one sound from the smartphone, that most ubiquitous emblem of eWaste.

TRACE–E was made possible due to generous funding from the Engineering & Physical Sciences Research Council IAA at University of Southampton

Composer & Performer – Robin Browning

Trace-ing the Circuit

Monday Night, It Rains

it's only because of you if I feel this way

A more structured ambient work partially inspired by spending time in Poland for New Year and seeing more of the world.

The first section is a gentle calm - the comfort you feel amongst the trees on a clear forest path - the second the moment you move onto a new track and become truly lost in the scope of your surroundings.

Photo by Rhiannon Nevada.

The Trees

After The Storm 💨
Download: https://tonypterodactyl.bandcamp.com/album/after-the-storm
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💬 They can conquer who believe they can.
-Virgil

🧡 Tony Anderson
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https://open.spotify.com/artist/3aRscMJRah0QrvGE5rkvZl
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Suggested track: https://youtu.be/Y4U_Pk3VH6Q

📷 Picture by Toa Heftiba
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After the Storm

Download

Tony Anderson - After The Storm

https://open.spotify.com/artist/7qyOQRvFZPkxlVzXDuE6Ne

So Near Yet So Far

Campfire Stories 59 (Balance) by @gentvargmal

~ About The Story ~

An altered look about the hills;
A Tyrian light the village fills;
A wider sunrise in the dawn;
A deeper twilight on the lawn;
A print of a vermilion foot;
A purple finger on the slope;
A flippant fly upon the pane;
A spider at his trade again;
An added strut in chanticleer;
A flower expected everywhere.
-  Emily Dickinson

~ Chapters ~

Coming soon

~ Notes ~

Campfire Stories is a mix series by friends of Silent Season. The focus of the series is on storytelling through deeper electronic music. Artists weave together narratives using the emotional characteristics of ambient and techno music.

Thanks to all the artists and labels whose sounds help tell the story.

Thank you for listening.

- - -

Photo: Rachel Lynette French

- - -

www.silentseason.com
info@silentseason.com

Campfire Stories

Campfire Stories 59 (Balance) by Gent

Another sleepy tune for people who don't sleep

Moonless Night

WYS : https://soundcloud.com/wyslofi

Just a lonely distant signal 🗼

Available on Spotify : https://open.spotify.com/album/43VoEczStrN6GxdDGLsgli

WYS x fm.eral - Signal

Hi!
I'm Toby. I'm a PhD student studying Sustainable Infrastructure Systems, however in my free time I like to write piano songs. 
They are quite simple but I hope you will like them!

I started learning piano when I was about 4 years old and started writing my own songs when I was about 14. It's only recently I've decided to record some of them and show them. They're not very complicated, but I think piano music is best when it can convey a feeling in the simplest way possible.

I don't have a great setup for recording them, so the quality could be better but I'm just putting them out there now to get some feedback and see what people like or dislike.

They are recorded with a Yamaha Piaggero and a laptop. If they sound like they were recorded using a tin can under the sea, that is probably why.

If you can listen to all of them and stay awake you win a prize!

So Near Yet So Far

Toby Roberts

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