Minnows and silk worms begin dream sequence

This composition is the result of my artistic residency at Uncool in Poschiavo (Switzerland 2021).
It is a radio portrait of Poschiavo town, its surrounding mountains and glaciers. During the residency I did outdoor self-made recordings of VLF natural radios phenomena, meteor echoes, electromagnetic field and radio communication. This portrait is a part of my ongoing  project started in 2014 about creating radio portraits around the world called “The unknown beyond” .
PHOTO CREDIT: Thomas Rohrer

Radio Portrait of Poschiavo 

" Poschiavo - A Radio Portrait" @UNCOOL artistic residency 2021

some sort of tonal metaldrum made by pinging the haible tau phaser and sending it through a) a dual bp filter b) a frequencyshifter and c) a convolution unit.

pm_metaldrum

MINOR TOM

"Нежность" (Tenderness) 

Ekaterina Efremova – vocals, guitar, electronics 
Andrey Gaiduk aka 23:59 – computer 
Hilary Jeffery – trombone, computer 
Svetlana Matveeva – vocals, keyboard, electronics 
Timur Mizinov – guitar, electronics 
Anna Rotar – trombone 
Maria Rusinovskaya – production, logistics, co-curator and facilitator 
Victor Skorbenko – vocals, guitar, electronics 
Kristin Alsos Strand – cello 

composed by Aleksandra Pakhmutova, lyrics by Nikolay Dobronravov and Sergey Grebennikov (1966) 
recorded live at Murmansk Spaceport on 28 November 2015 
edited and mixed by Hilary Jeffery at Berlintune Studio 2022 

Hilary Jeffery’s Murmansk Spaceport was an environment designed for exploring unknown territories. During November 2015 musicians from Murmansk(RU) and Bodø (NO) in the Barents Region worked together with Hilary Jeffery to perform Murmansk Spaceport. A port is a place of departure and arrival, of temporary transactions and unstable conditions. Murmansk Spaceport encouraged the musicians to travel imaginatively into areas they do not know, to explore dark territories of which they have little or no experience.

For Hilary Jeffery this meant exploring the atmosphere and mood of Murmansk in November, which for him was unusually dark. Additionally, he attempted to enter into the sound of Russian, a language unknown and new to him. In a similar way each musician was asked to explore areas in which they are non-expert, to literally enter the dark and unknown. With music as a central focus, various means were used for navigation, including solo and group improvisations, introspective language explorations, sound and image recording, associative writing and map making.

Commissioned by Sonic Acts and Hilde Methi for Dark Ecology (2015)

https://minortom.org/spaceport
sonicacts.com/portal/dark-ecology-project
www.hiljef.com

Murmansk Spaceport

Murmansk Spaceport – Tenderness

Published on @audiovisualsatmosphere [cassette / digital - 2022]

Originally conceived and shown as a sound installation, "dusk — dawn" invites the audience to listen to a city from dusk to dawn by embodying a figure who wanders from one acoustic encounter to another. What happens to the urban soundscape once its human population is asleep? Putting the emphasis on the little heard sounds of a city, this field recording composition allows listeners to dive in buildings’ drafts, bats’ calls, empty train stations’ ultrasounds, singing escalators, talking swans, humming electrical junction boxes, and
birds’ dawn choruses. Documentary at times, surreal at others, the piece proposes an electroacoustic excursion by mixing and processing a set of sounds recorded at night in the city of Berlin during the lockdown and curfew period of spring 2021.

Recorded and composed by Pablo Diserens
in Berlin, Germany — June 2021

Recorded with Sound Devices MixPre-6 II, Sony PCM-D100, LOM's Usi Pro, and LOM's Geofón

Mastered by Adam Badí Donoval

Pablo Diserens – dusk — dawn [AVA99]

Take from the cassette Komare – Grace to the breathe that void (PPCS8)

Grace to the breathe that void

Komare

Excerpts of field recordings made 2020 - 2022 in Ireland and France

1. Funachree Coast, Co. Galway. (00:00 - 01:06)
Seals Calling, Barnacles, Water

2. Abandoned Barn, Portaferry, Co. Down (01:06 - 01:52)
Derelict Barn Moved by Wind, Amplified Tree Branches

3. Chemin du Trieux, Paimpol, Bretagne (01:52 - 02:52)
Crickets

4. Trieux River, Paimpol, Bretagne (02:52 - 03:50)
Snapping Crustaceans, Low Frequency Pulses

5. Windmill Hill, Portaferry, Co. Down (03:50 - 04:29)
Amplified Fishing Wire Stretched Vertically inside Windmill Tower

6. Trieux River, Paimpol, Bretagne (04:29 - 04:59)
Crab Eating a Periwinkle

7. Trieux River Port, Paimpol, Bretagne (04:59 - 05:34)
2 Pipes Resonating from Wind and Water


Equipment used:
DPA 4060 Microphones
Sound Devices MixPre6 Recorder
Aquarian H2A Hydrophone
JrF D Hydrophones
AKG C417 Microphones

Photograph by Louise Le Du at Funachree Coast in Co. Galway

Louise Le Du & Michael Speers Field Recording Excerpts

van dyne

’tis no mere trick; here’s is a treat for you: a new Sequences release! 
‘Hypnagogia’, a 13 track collection of horror vacuum pieces. 
Discarded and strewn about, forgotten, dusty and old. 
They are presented here, together & hermetically sealed, instead of being eternally lost in the ether. 
A hommage to all things haunted. A candle for our ghosts of the past.
Footprints in a boundless terrain.

Guitar processed through cassette tapes and eurorack modular system.
Recorded & mixed May - October 2022.

Released on All Hallows’ Eve 2022.

Hypnagogia

In The Shine Of The Lamp

testing the papomi mixer/polarizer. a great utility for feedback patches.
delay, filter, frequencyshifter and mixer.
the recording starts as if a bird is imitating j. s. bach ... very weird :)

papomi birds

Alexandra Spence – “Do jellyfish breathe?”

A reworked version of this piece has been released as the album 'a veil, the sea' as a cassette tape or download on the Mappa label. You can purchase a copy here:

https://mappa.bandcamp.com/album/a-veil-the-sea

During Sydney’s most recent lockdown I submerged* a 15 minute-long piece of cassette tape in seawater collected from a local beach. The cassette tape contained a field recording of waves, and a recording of my voice offering a (non-definitive, and non-hierarchical) list of things found in the Pacific Ocean.

I’ve been thinking about connection with bodies of water, as well as connections between bodies and water, and how we might reimagine our bodily limitations to examine the things that connect us to each other and to our surroundings. The sea has always felt like home, and having lived on both the east and west edges of the Pacific Ocean it has become a place of connection for me.

I’ve been thinking about the Pacific Ocean as a home – not only to marine creatures and sea currents – but to the obscure movements of global trade, offshore data barges, and sunken satellites deactivated and dumped from space. Vast bodies may seem infinite, but nothing is – the depths hold mysterious, beautiful, and troubling things.

…Bottlenose dolphins, ancient artefacts, Lego pieces, approximately 36 species of shark, underwater mines…

Imagining an infinite ocean has led to overfishing, floating plastic-particle gyres, lost whales (as a result of the underwater din of shipping and naval industries), and an international sense of unaccountability.

“… Do jellyfish breathe?” is a kind of sonic traversing of oceanic layers, exploring imaginary landscapes, entwining and encountering unequal forms, such as breath with wave, fish with fishing line, along the way.

*Submerging the tape in salt water is an expansion of an ongoing project in which I bury tape loops 7-second field recordings on tape loops before burying them in the earth at the location in which they were recorded. I imagine this as a collaboration of sorts — I make a recording and the physical variables of each place and location alter it. While the magnetic coating of the tape retains sonic remnants of the recorded sounds of the place, the physicality of the tape ribbon retains material remnants of the place: sand, salt, other, which, in turn, impart audibly on the recording in the form of crackles, scratches, tape-warp, and hiss.

van dyne

uzala

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