Epuisement du sujet

03 Bach - O Mensch Bewein Dein Sunde Gross BWV 622

Flowers Along The Riverside

Clanky Acid 16.09.22 (live Recording)

Adam Schwarz - “Dangerous Cocaine Adulterants” off “Legalize All Drugs” (ARs Media)
Tim Goss - “Fly I” off Afterfly (Penultimate Press)
Michael Prior - “Czapla’s House” (excerpt) off “Afternoons In January” (Greedy Ventilator)
Sydney Spann - “October 2 at Home” off Oceanic/E.L.M. (Reading Group)
VOSP - “Colorless Dream” off “Pale Shelter” (Anathema Archive)
Zone Nord - “Untitled” (excerpt) off “Recycled” (RRRecords)
Dylan Nyoukis - “Untitled” (excerpt) off Dadgum My Bubblegum (Hanson Records)
Skylark Quartet - “Skylark 2’52”” off “Skylife” (Bánh Mì Verlag)
Darksmith - “Regular Man” (excerpt) off Regular Man / Good Memory (Regional Bears)
T.D. & S.S. - “Fire and Ice” (excerpt) off “Viva! The Down Town Sound” (Staighre)
A.F Jones - A Jurist For Nothing off “A Jurist For Nothing” (Gertrude Tapes)
Theodore Cale Schafer - “It Isn't So Bad To Be Alone” (self-released)
Hour House - “Magenta Mine” off Chiltern (Penultimate Press)
David Behrman “Leapday Night Scene 2” off Leapday Night (Lovely Music)
Nicholas Collins - “Little Spiders” off Going Out With Slow Smoke (Lovely Music)
Madalyn Merkey - “Let Other’s Mouth” off Oranges (self-released)
Pink Floyd - “Time” off “The Dark Side Of The Moon” (Harvest)

APOD0052 Christian Mirande Takeover. Edition Erich Schmid Ep. 28

Shaded Verge

bubble bath

This is an excerpt from a 36 minute piece for the Longform Editions label, a collective for deep listening. Came out a few weeks ago. 
------------------------
Artist notes: 

This piece is the result of nearly a month spent in the Canadian city of Saskatoon, Saskatchewan during Autumn. I was in Saskatoon to develop a new work and much of my time was spent wandering around this city, which I discovered was also referred to as the 'city of bridges' recording various bridges, as well as streetscapes, the South Saskatchewan River, and people vibrating various structures in Saskatoon, raised pavements, the bridges themselves, and this very cool and narrow pedestrian and train bridge. I have been interested for quite a while now in the ways people contribute sonically to the making of particular spaces, and so this was my focus here. In this recording you will also hear various recordings from cafes I visited in Saskatoon, and the soundtracks I encountered there, I should hat tip The Underground Cafe where I went almost every day. There is also the bass throb from one guy's car who stopped to pump out some thrash metal-ish sounding music, but from the outside all I could hear was this muffled thump, which I found quite hilarious and excellent and also there is a sample from the Saskatoon-based band Waitress, who are a very excellent band I met while there and who allowed me to use a snippet of one of their tracks for this piece. Apart from some very minor edits this piece was performed as it is live in my studio in Brixton, London using field recordings from Saskatoon alongside vibrating wires, strings, squeaking magnetic tape, a zither, shakers, a gong and an owl horn. It is based loosely on the performance I gave in Saskatoon for the Sounds Like Festival in October, 2018.

City Of Bridges (excerpt) out now on Longform Editions

The Modernist

Part of the piece - 2 Kinetic studies, made during the residency at the Spatial Sound Institute in Budapest in 2016: https://soundcloud.com/svetlanamaras/sets/2-kinetic-studies

Study no.1 is guided by the principle of symmetry. The central spot of the composition is in the middle of the room - half the way on both horizontal X- and Z-axis. Each object always moves through both halves of at least one of the X- or Z-planes. The element which is being doubled, is followed by the same-pace movement of the element on the opposite side of the axis, but the movement is being reversed: element no.6 positioned on Z-4 goes from X-5 to X+5 while at the same time in the same speed element no.7 at Z+4 goes from X+5 to X-5. 
There are three elements which are the musical nucleus of the composition (1, 2, 3). These sounds are airy (noisy) but they have a recognisable pitch and form a minor triad. All other elements are tuned to these three elements which define the tonal center of the piece. This kind of interpretation of the harmonic aspect of the composition, parallels the interpretation of ‘symmetrical’ in spatial domain. 

This is a stereo mixdown of the piece.

VIDEO: https://vimeo.com/210260544

bubble bath

uzala

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