SoundCloud Weekly .3649346

n0st4lg1a

03 Bach - O Mensch Bewein Dein Sunde Gross BWV 622

https://continuous-tone.bandcamp.com/album/restless-leg

This new release by Continuous Tone is a stereo mix of a live performance presented at Café OTO earlier this year. Kate Carr and Iain Chamber invited Tom to respond to their theme of “Rubbish Music” in which they take discarded objects as source material for live improvisations. The subsequent composition employs a pair of modified kitchen pedal bins as musical instruments; close mic’d, with the lids opening and closing periodically to modulate the sounds passing through and ‘prepared’ with bamboo sticks placed on the speaker cones inside so that low frequencies vibrate the metal lids. 
credits
released November 7, 2022

Recorded by Pedro Subtil at Café OTO, July 10th, 2022
Mixed by Tom White
Mastered by Taku Unami

Restless Leg

Soft Close (excerpt) from Restless Leg (Continuous Tone)

6“ Lathecut flexicard of one song by Delphine Dora

Fifth postcard of the series,
this singlesided flexi is playable on most turntables.

19 copies only
comes with one pretty little silver badge

https://mmli.bandcamp.com/album/dilatation

Delphine Dora - Dilatation

Costest

Performance from the set of 'curse tablets' scores in St Swithun's, Worcester, on 10th December 2022. 
Organ: Lauren Redhead
Electronics: Lauren Redhead and Alistair Zaldua

(quite a lot of hiss on the recording that is from a present noise in the room - sorry!)

Curse Tablet St Swithun's Worcester

Canedicoda/Renato Grieco - Ehm
LP on Xing (XONG collection XX07) out February 2023, order at  https://www.soundohm.com/product/ehm-lp-white
Collector's edition available at https://www.soundohm.com/product/ehm-lp-art-edition and at https://shop.flash---art.it/products/canedicoda-renato-grieco-ehm

*

Xing presents the new LP Ehm by Canedicoda and Renato Grieco, seventh release of XONG collection - artist records. The release is on white vinyl, in a limited numbered edition of 150 copies. The collector's edition consists of 15 copies, each accompanied by a screen-printed robe designed and hand-tailored by Canedicoda.

Ehm bypasses the problem of articulation and meaning. Canedicoda and Renato Grieco, both also known under other artistic guises (Ottaven and kNN), are the sound forgers who have combined these spaces of presence and present in a paralyzed intersperse. A composition in the making, sensitive, which almost builds itself. Backgrounds of the environment, silence and noise ferment in a flow of micro-dynamics, moments of intangibility and turning nodes. Ehm is concrete music and tactility of hearing: powder sound. In that sleep cycle where the dream occurs only to be forgotten. In search of a non-narrative, Canedicoda and Renato Grieco propose stasis as will. A two-part suite, whose titles speak for themselves: A): "It is possible that the focus falls on an impalpable matter. I address the body of the volume, as if it could take and not take place at the same time. They are not hairs but teams." and B "Readily exposed to the cold and folded in three moments. A space, a sharp pain shrowded in the air: contact generates rustles. The sound of nothingness, the name we would like to give to void for a moment, rising beard."

Xong is the name of the new collection produced by Xing, a vinyl-only record label of works by both Italian and international personalities linked to the variegated worlds of live performativity. The collection explores a geography of artists who present this sonic field as a platform to expand their staged worlds. "The space of the record" is given focus and amplifies their poetics as both a sonic and physical phenomenon. Xong is a unique project that draws out divergent understandings of the performative and live arts, beyond genre and intersecting between different practices. Xong collects a series of original creations that constitute an expanded program. Each physical record is a numbered edition on white vinyl hosting the solidification of the gesture. A wave upon wave, a series of "Music-Non-Music" to actualize both the artists and listeners imagination.

*

Sounds by Canedicoda and Renato Grieco, Recorded and edited by Renato Grieco at KU studio, Naples, Mastered by Riccardo Mazza, Cover by Canedicoda, Artwork by Xing, Printed by handle with care Berlin, Format vinyl (white), Released by Xing in an edition of 150 copies including collector’s edition of 15 copies with a multiple designed by Canedicoda: a hand-tailored robe (silver water-based print on black cotton); open format 170 x 100 cm, signed by the artists, Cat.n° XONG collection XX07 (2022), Label Xing.

XX07: Canedicoda/Renato Grieco - Ehm (excerpt side B - Prontamente esposto al freddo e piegato...)

À l’aube,
Un petit duc sonne la cloche du village et réveille les rossignols,
Solo de mobylette qui dessine le paysage,
Un bourdon drague un saxophone,
L’eau capricieuse se fraie un chemin jusqu’au vignoble d’un mélomane, 
Le boulanger guette le vent…
Au commencement était le son.

Avec la participation de Vincent, Georges, Stéphane, Victor, Emma, Jacques, Marc et Myriam.

Création sonore collective réalisée par Ana Sany, Anaïs Binggeli, Celia Dessardo, Cicely Fell, Déborah Benarrosch, Irazema Vera, Jacob Redman, Léa Roger, Marie Casanova et Mathias Arrignon.
@kovisuel @cicelyfell @irazeman @lea_roger @user-653640218

Réalisée durant le stage de prise de son animé par Félix Blume à Azillanet (Avril 2023) dans les locaux du Couvent géré par le Foyer Rural d’Azillanet.

Remerciements à Nicolas Darzacq, Sara Lana, Martine Rousseaux, les membres du Foyer Rural et la Mairie d’Azillanet.

Le Chòt

·P·D·

Chiara Bacci/Nicola Lancerotti, Settembre

Leden and Laura's live performances are based on a real-time processing of saxophone’s sounds, using digital devices designed by Fabris himself to sculpt, mould and generate their own sonorities. Laura's playing involves different extended techniques and the use of the mechanics of her instrument, the only sound source of their live set.Their new repertoire combines the emotional power of melody with experimental ambient soundscapes.

LEDEN / AGNUSDEI live electronics

⠠⠔⠧⠊⠎⠊⠼⠸⠺

From forthcoming collaborative release with Stuart Chalmers - Awkward Objects on Fractal Meat Cuts.

Releases November 19, 2018 

Music by Tom White and Stuart Chalmers. 
Release notes by Joe Murray. 
Mastered by Jac Beloeil.

/ / 

Tape-music grandmasters play chess with eternity! 

OK (pause) 

Phew ... (wipes damp palms, mops shining brow) ... I’m a little excited here OK. (gasp for air, clears throat) 

Fans of modern tape wonk will already know the names of the righteous Tom White and Stuart Chalmers. For you lot at the back (and please try and keep up) Tom plays the large reel-to-reel tape machine manipulating the thick vintage tape with electronic effects and spectacularly hands-on physical loop-age systems. 

Stuart favours the household compact cassette and carefully takes these fragile babies apart making short micro loops that he magically extends with a dusting of effects pedals, fairy lights and a deep mystical understanding. 

Similar set ups for these gentlemen for sure but their work is clear-voiced, distinctive and individual. For Awkward Objects Tom brings a textural crunch that aches with the sound of sound itself. Each subtle click and whirr of the reel-to-reel is elevated to be a star in the show; a gentle hiss is looped into angels gossip, a tidy mechanical clunk becomes the snoring of a sleeping god. Stuart’s gift is for layering fragile sonic time-tissues. Each soft envelope of memory draws electrical activity from my hippocampus triggering flashbacks involving Blake’s Seven, Moonbase Alpha and the hot fug of a sleeping bag. 

This is heady stuff; circular, ever moving - a dignified collapse leading to a raw re-birth. Tom and Stuart’s styles merge and mesh perfectly into what some are calling Cubist sound collages. To my cloth ears it’s a great description as the angles are slightly askew, the colours muted and subtle. This recording is a beauty that’s hinted at, inferred, rather than presented as a garish centrefold spread. 

Expect to be drawn into a soundworld of new sensations, warm embraces and deft ear-fingering. 

So, in my best fairground barkers roar... 

”Here they are ladies and gentlemen. Together for the first time, Mister Tom White and Mister Stuart Chalmers proudly present their Awkward Objects for your edification and listening pleasure. Take it away gents...”

Awkward Objects

Tom White & Stuart Chalmers - Flux | From Awkward Objects (Fractal Meat Cuts 2018)

When I read the parameters for this week's project, I realized I already had a completed track.  I made this ambient version of Gymnopédie No. 1 back in 2013.

More on this 363rd weekly Disquiet Junto project — Gymnopédie Rats: Make over Erik Satie’s “Gymnopédie No. 1” in your chosen genre — at:

https://disquiet.com/0363/

Many thanks to Peggy Nelson and Alex Hawthorn for having proposed this project, at the tail end of last week’s project.

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0363-gymnopedie-rats/

There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.

Gymnopédie No. 1 [disquiet0363]

Known to many through his collaborative works with Oren Ambarchi, crys cole, Kassel Jaeger, Klaus Lang, Joe Talia, and many others, this LP is Rushford’s first solo release in a decade and the very first he has composed, performed, and recorded entirely alone.

Primarily recorded in Los Angeles in 2017, The Body’s Night is a single electro-acoustic suite stretching over thirty minutes, utilizing field recordings, flutes, ocarina, microphones, organ, percussion, piano, tape, analog synthesizers, viola, and voice. True to its title, the record immediately ushers into a nocturnal, intimate, claustrophobic space where the hyper-amplified rustle of clothing and vocal mumbles are shadowed by uneasy synth tones, fluttering white noise and distant filigrees of ultra-high-pitched tones at the edges of aural perception. While the influence of contemporary composers such as Klaus Lang and Jakob Ullmann (both of whose music Rushford has performed extensively) makes itself felt in the music’s attention to the liminal space between sounds, Rushford also draws on the bedroom synth explorations of ’80s acts like DDAA and the harmonies and production values of black metal, drawing a common thread between these influences in terms of their shared interest in atmosphere and deliberate retreat from perspicuity. Relief from this claustrophobic atmosphere comes through the episodic structure of the piece, where like an already dark shot fading to black, each sequence retreats from your ears before you can properly grasp it.

Rushford uses classical electro-acoustic techniques and plays elegantly on the fundamental ambiguity of the acousmatic situation in which you can never be sure of the source of the sound you are hearing. But rather than a tribute to the masterworks of musique concrete, this is defiantly idiosyncratic and personal music. Meticulous in production values and exploratory in timbre, tonality and form, The Body’s Night is a key work from one of the most singular young composers at work today.

Stunning artwork by O.B. De Alessi. Design by Lasse Marhaug. Mastered for maximum fidelity by Rashad Becker at Dubplates & Mastering, Berlin.

BT047 - James Rushford "The Body's Night" [sample]

Tom White is a London-based artist. His multidisciplinary practice spreads across sound, moving image, installation and live performance. Past projects include commissions and appearances for Radiophrenia, Glasgow (CCA); BRAUBLFF (KRAAK & De Player); Whitechapel Gallery, London & Colour out of Space Festival, Brighton. Collaborators include Maya Dunietz, Kieron Piercy, Ben Knight, Stuart Chalmers and most recently in Al Fresco with Lia Mazzari & Sholto Dobie .

He won the British Composer Award in 2014 (Sonic Art) for Public Address, commissioned by South London Gallery. In 2016 he founded Apologies in Advance; a platform for artists presenting work in progress performances.

Tom White & Stuart Chalmers - Flux | From Awkward Objects (Fractal Meat Cuts 2018)

Tom White

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