first excerpt from artificial memory trace | hypnotikon (australOpus 2) cd on Unfathomless.

this release is limited to 200 hand numbered copies and comes with an extra art card.

U32 | artificial memory trace | hypnotikon_morf_excerpt

Robe rehearsal 181017

Created for Azimuth 6, here as a stereo version of the original 32-channel version.

'Based on the introduction of Jean-Paul Resweber's book "The Philosophy of Language", the piece explores the ambiguity between the voice that conveys a message and the voice whose acoustic and musical qualities are heard. It seems that when our attention is focused on the musical aspect of the voice, we forget the message it carries, and vice versa. The back and forth between these different levels of listening leaves the listener free to give it its own meaning, if there is one. And this is precisely the question asked by the original text. '

https://www.azimuthfoundation.net

La philosophie du langage

A transcendental sound journey into the inner depths...

Endless

Simon Whetham - (R)ASSEMBLE - YARMONICS 2020

Loop 34 (Bucles)

Track from:
Simon Whetham "Forced to Repeat Myself" CD

“When performing with a limited set of resources, through choices in materials to work with and the constraints of being nomadic, there can be a tendency to repeat actions and scenes that 'work', even when improvising and having to respond to each new situation in a unique way.”

One characteristic aspect of the touring experience that is not discussed often enough is the dilemma of repetition. Not repetition as a mechanism of the work itself, but as a tedious consequence of being obligated to perform night after night in quick succession. Generating a completely unique performance for each stop, even with the assistance of improvisation,  is a laborious undertaking that consumes too much time and sanity, while adhering to a rigid set of rules leaves one open to both burnout and diminishing returns. Is there a way to split the difference so that both performer and audience are always engaged to the highest standard?

“I set these constraints on myself. The need to produce something (at least a little) different in each event of a tour was fierce, especially when traveling with other musicians.”

Explicitly within the title itself of his latest CD, Forced To Repeat Myself, UK sound artist and composer Simon Whetham tackles these questions with both a sly wit and sincere inquisitiveness. The tracks, all collected from recordings documenting a 2018 tour, utilize analogous source material and means of execution.  Whetham paid particular attention to the contour and character of each venue when deciding how to best put the pieces together, offering a customization that subverts pure deja vu for a sharp observance of the unfamiliar.

“In each situation objects and materials unique to the space were incorporated into the performance setup and structure, generating sounds or resonating with them. And yet I could hear similar scenes, movements, even spaces. This repetition determined the dynamic of the composition, working with it and against it.”

By the very nature of their disseminating sparseness, the tracks of Forced To Repeat Myself demand from the listener an attentiveness fixed on nuance and variation. The amplified cracks and static of ethereal currents and anonymous electronics infer the works of others who’ve made it their mission to attune our attention toward sounds outside our natural perception, including Christina Kubisch’s electrical walks, Toshimaru Nakamura’s no-input mixer excursions, and Jason Zeh’s experiments with blank tapes and the mechanizations of his cassette players. Whetham’s shaping of the album’s source material to highlight certain exclusivities of each live performance emphasizes how the inherent dynamics of time and chance guide his self-imposed constraints into pathbreaking spectrums. 

“The title references a phrase many of us will have heard in our formative years, ’Why do you force me to repeat myself?’ I have no answer to this question. I never forced anyone to do anything. But with this work, I did.”

One inherent paradox of Forced To Repeat Myself is that each listen naturally manifests a distinct, individual experience. The way sounds are received and processed in one instance to the next each forget their own entryway into transcribing meaning from this abstraction. And Whetham is keenly aware of this as the sounds of Forced To Repeat Myself find consistent, unique ways to perpetuate themselves, ensuring any repetition to be delicately understated.

Forced to Repeat Myself

Forced to repeat Myself

Simon Whetham "08-11"

GOD 61
Peter Ablinger
Orchesterstücke, 
excerpts
www.godrec.com

GOD 61 - Peter Ablinger - Orchesterstücke, excerpts

Geometry Of Fear

morphaqin #1

O.V.   https://soundcloud.com/noirmoderne/geometry-of-fear

Noir Moderne - Geometry Of Fear (Senglar No-Fear Rmx)

Unfathomless is a thematic series focusing on phonographies reflecting the spirit of a specific place crowded with memories, its aura & resonances...


Published so far :
U71 juan josé calarco - poleas
U70 philippe neau - étang donné
U69 Masayuki Imanishi - insects are
U68 Clinton Watkins - Raaswater
U67 simon whetham - dry
U66 philip sulidae - Vandemonian Verplaatsing
U65 Ludovic Medery - Les pierres sèches
U64 nicola di croce - 47AD
U63 Thibault Jehanne - Farol
U62 Vanessa Rossetto - self-care
U61 grisha shakhnes - being there
U60 Leo Okagawa - something veiled
U59 Banks Bailey - Mountains and Waters
U58 René Aquarius - Woodland Sigil
U57 Jared Sagar - Tombland
U56 brb>voicecoil - reclaim
U55 A.F. Jones - Bourdon du Kinzie
U54 Bruno Duplant & David Vélez - our seasons reverse
U53 - Jérémie Mathes - In[Core]Wat[t]
U52 - Frédéric Nogray - Ondureñas
U51 - Mathieu Ruhlmann & Joda Clément - Sound Diary of Quiet Pedestrians
U50 - Jeph Jerman - Imbrication
U49 - Yiorgis Sakellariou - in Aulis
U48 - Philip Sulidae - Ramshead
U47 - Banks Bailey - The Pool
U46 - Haptic - ten years under the earth
U45 - Ludovic Medery - eMERgences
U44 - Fergus Kelly - Local Knowledge
U43 - João Castro Pinto - Suntria - imaginal sonotopes
U42 - Jared Sagar - Holme
U41 - Sala - scare me not
U40 - Rihards Bražinskis & Raitis Upens - Aldaris
U39 - Stéphane Marin - Invisible(s) Archipelago(s) 1 – Serendib rhythms
U38 - Five Elements Music - lokrum patterns
U37 - Kassel Jaeger - Onden  隱佃
U36 - Andrea Borghi - Fuochi Rituali di San Giuseppe
U35 - Vanessa Rossetto - The way you make me feel
U34 - Flavien Gillié - Nonante-neuf fragments harenois
U33 - David Vélez & Bruno Duplant - Moyens Fantômes
U32 - artificial memory trace - hypnotikon (australOpus 2)
U31 - Jérémie Mathes - Fallow Memory
U30 - Osvaldo Coluccino - Parallelo
U29 - Michael Trommer - night swimmer
U28 - Nicolas Perret & Silvia Ploner - Nýey
U27 - Jay-Dea Lopez - The Australian Gothic
U26 - Claudio Parodi - Prima del terzo
U25 - Manrico Montero - Sisal
U24 - Yiorgis Sakellariou - Klaipeda
U23 - Frédéric Nogray - Merua
U22 - Loren Chasse - Characters at the Water Margin
U21 - darius ciuta - ld2i(3)
U20 - artificial memory trace - garig gunak barlu
(australOpus 1)
U19 - philip sulidae - History of Violence
U18 - Tarab - strata
U17 - David Vélez /Simon Whetham - Yoi
U16 - Kassel Jaeger - Rituel de la Mort du Soleil
U15 - Jérémie Mathes - Efequén
U14 - Yann Novak - Paradise & Winchester
U13 - Bruno Duplant - Quelques usines fantômes 
U12 - Chris Whitehead - Ravenscar (not yet released, but imminent !)
U11 - Five Elements Music - Rishikesh
U10 - David Velez - Sonido Descompuesto
U09 - Joda Clément - The Narrows
U08 - James McDougall & Hiroki Sasajima - Injya
U07 - simon whetham - Mall Muzak
U06 - Juan José Calarco - aguatierra
U05 - revenant - zeltini
U04 - Kassel Jaeger - lignes d'erre & randons
U03 - Nicholas Szczepanik & Juan José Calarco - Lack Affix
U02 - Luigi Turra & Christopher McFall - Tactile.surface
U01 - mathieu ruhlmann - tsukubai