13 May 2020

Interesant

SoundCloud Weekly 001

SoundCloud Weekly MAY_10_2019

Oct 11 2019

Nov9_2019

Nov13_2019

Program Note:
 
This piece was written for my good friends of the Tesla String Quartet.  And (not coincidentally) it is meant to be a musical portrait of the famed scientist, Nikola Tesla. Tesla was famous for many inventions and discoveries, including alternating current, wireless radio transmission, and even a fabled death ray.  The title “Great Danger, Keep Out” is a variation on a sign that was posted outside of his Colorado Springs laboratory, which housed an eighty-foot high tesla coil (one of Tesla’s more famous inventions) that reportedly generated the largest manmade lightning bolts to this day (and was also the cause of a citywide blackout).  The music is greatly inspired by the following account of the phenomenon by Tesla biographers, Hunt and Draper:
 
 
"The crackling and snap repeated and then came a tremendous upsurge of sound as the power built up. There was a crescendo of vicious snaps above. The noises became machine-gun staccato, then roared to artillery intensity. Ghostly sparks danced a macabre routine all over the laboratory. There was a smell of sulfur that might be coming from hell itself. A weird blue light spread all over the room. Flames began to jump from the ball at the top of the mast- first a few feet long- then longer and brighter- thicker, bluer. More emanations until they reached rod like proportions thick as an arm and with a length of over 130 feet. The heavens reverberated with a terrific thunder that could be heard 15 miles over the ridge to Cripple Creek."
 
While the programmatic “electrifying” essence of the work is clearly evident, I also wanted to include a few “easter eggs” about Tesla’s life, in order to more faithfully represent the famous inventor.  These include things like his lifelong obsession with the number three (many of the melodies are based off of thirds; the tritone features prominently in harmonic and melodic material) and the opening tempo indication (“With vigor and vitality”), which is a direct quote spoken by Samuel Clemens upon experiencing some of the therapeutic vibrations caused by one of Tesla’s oscillators.
 
This piece was written for and premiered by Tesla String Quartet.

Great Danger, Keep Out (PUBLIQuartet)

a sort of imitation of colin stetson saxophone playing, actually just another try to sequence a res-4 feedback patch going into mmf-6. sequenced from er-101 with cv going into the er-102 for volume, filter symmetry and resonance. pressure points and planar helped to get a lively feeling although it is quite a simple repetative sequence.

peroni

Taken from the album 's/t' released as 2LP and Download

Jaap Vink 'En Dehors' (excerpt) (REGRM 018EXT)

Joe McPhee: B-flat and E-flat alto clarinet, Roland MC202 Micro Composer synthesizer
 
Bryan Eubanks: Open-circuit electronics (sinetones)
 
 
 
What constitutes an unidentified sighting, the rarely heard ‘alien’ clarinet playing of Joe McPhee and the ineffable electronics of Bryan Eubanks? Penultimate Press is extremely proud to produce My Undocumented Alien Clarinet: a strange sensual addition to the ever inquisitive McPhee canon. My Undocumented Alien Clarinet is a beguiling document of a performance held at Alternative Books, Kingston, NY, Sunday, August 6, 2006 under the auspices of the Pauline Oliveros Foundation’s New Vanguard Series. My Undocumented Alien Clarinet captures a unique intimate improvisation exploring the outer reaches of the form. 
 
Joe McPhee, (b.1939 USA) is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He has collaborated with Pauline Oliveros, Graham Lambkin, Peter Brotzmann, Evan Parker, Raymond Boni among many others. With a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections and reach for music’s outer limits.
 
.. His magical take on avant-garde sax remains one of the wonders of the scene. He still has one of the most beautiful tones on the planet, even when he’s reaching for jazz’s outer limits." - Time Out NY
 
Bryan Eubanks (b. 1977, USA) is a musician composing electronic and acoustic works for small ensembles, solo instruments, and custom generative software; improvising in collaboration; and working with acoustic holography, a stereophonic recording and diffusion technique.
 
Artwork by Jerry Starpoli
Liner notes by Joe McPhee 
In memory of Jerry Starpoli 
 
http://www.penultimatepress.com

Joe McPhee and Bryan Eubanks - My Undocumented Alien Clarinet (excerpt)

Radu Malfatti, bass harmonica

first performance
Amsterdam Wandelweiser Festival
Het Orgelpark, Amsterdam
February 11, 2017

Amsterdam Wandelweiser Festival, Orgelpark: Sam Sfirri - Bass harmonica piece for Radu (2016/2017)

Growing Bin burst into 2018 with a bang, crash and symbol splash, uniting a premier pair of per- cussion obsessives for a supernatural mission into the heart of the rhythm.
Dressed in the pitch black of Düsseldorf stands Wolf Müller, master of the tropical drums and se- ven time Salon Des Amateur breakdance champion. Repping Cologne and Berlin is Niklas Wandt, Germany’s funkiest drummer and a mixed musical artist as adept in experimental jazz as demen- ted Euro dance. Standing toe to toe in a no holds barred, no drum unstruck groove contest, these two titans will make you swing your pants like a Crash Bandicoot victory dance...so stretch out and step in to ‚Instrumentalmusik von der Mitte der World‘.
Taking to their task with the joyful abandon of two big kids getting creative with the Kindergar- ten music tray, Müller & Wandt marry dripping electronics, Froesean pads and rubber-limbed basslines with tribal polyrhythms, C2 claps and Indonesian shakers - and that‘s only on the A1. Comprising of three trance-inducing epics, a handful of medium-sized movers and a couple of freeform interludes, this dynamic double pack could almost pass as a lost Library masterpiece; but our mind guides go Furthur, fusing esoteric funk and free-jazz freak-out a truly transportive experience. Prepare to enter a world of techno totems and neon skulls, shades of Yello and excel- lent birds. Within these grooves lies a transdimensional pathway between the Temple of Doom, the Twilight Zone and De Palma‘s Paradise, brought to life in a shamanic rite.
Forget the healing frequencies of Growing Bin‘s ambient outings, this time we‘re dancing for mental health.
(wordsmith: Patrick Ryder!)

Instrumentalmusik von der Mitte der World

Wolf Mueller & Niklas Wandt - Welcome Zum Paradies (10:55) snippet

Composed by Michael Gordon
Performed by Alarm Will Sound

Yo Shakespeare

A soundscape opera about relocation, urban space and gentrification.

This release is dedicated to the people and organisations in Brixton working to protect all that is unique about this district.

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Brixton was my introduction to London when I moved here almost two years ago. I had never heard of Brixton before I arrived, nor had I spent any time in London. I ended up here simply because a friend of a friend knew someone with a flat. This document represents the ways I have come to know this district, and through it a little of the rest of London. My work has always begun with the soundscape, and Brixton offers a remarkable one. From outdoor markets, bicycle sound systems, shop stereos and buskers to booming car hi fi systems, sirens, car washes and people simply talking and taking up space on the streets, Brixton is a noisy place. It was through listening to Brixton that I also came to hear voices being raised about how much this area had changed, about rising rents and neglected public housing, about how many people who grew up or used to have businesses here can no longer afford to stay in Brixton. I learned about the role of Brixton as a centre of Black British culture, resistance and musical production, and about how as Brixton has become increasingly gentrified the ways in which some of the sounds associated with Brixton's history and communities were being lost from this area. I learnt about some of the new silences of Brixton. I don't want to pretend that this release could ever be a definitive documentation of Brixton's soundscape, there are many far better situated than me to understand all the nuances of this area. This album is simply about the ways I came to know Brixton through listening, and the respect I gained through this process for the many struggles being waged in this district to maintain it as a community. This album is about arriving somewhere to find it in the midst of major upheaval in its social fabric, and about examining my own role in this as a new white Australian addition to the area. 
A soundscape reveals a lot about a place, through its presences, its silences, its rhythms and its pauses. A soundscape is forever being made by us all, it stitches us together in ways both subtle and sometimes overwhelming. I think in both its openness and fragility the soundscape can reveal something about the process of community making, and its sensitivity to change offers both opportunities and risks.

Kate Carr, Brixton, London.

I ended out moving to Brixton - Kate Carr (excerpt) out March 9

This piece was made for the opening of the Radio Belgrade Electronic Studio on March 2 2018. 

This is my 1st recording of the real-time improvisation with EMS Synthi 100 + my computer setup.

Computer setup was based on the TouchOSC interface, Pure data patch and Ableton live. Improvisational dialogues between Synthi and computer were done through a dynamic interactive interface on my tablet and tweaking of the Synthi sounds live and playing with their parameters. I haven't used Synthi's sequencer (or a computer sequencer), but rather variety of key triggers, joysticks and envelope shaper trapezoids.

Due to a wide frequency range, it's not advisable to listen to this recording through a laptop speaker or similar.

This is my first use of the modular synthesizer in live performance and/or composition.

TV recording of the whole event: https://youtu.be/9tUwHGweUxY
(simultaneous performance in 2 studios of the Radio Belgrade with audience, live TV and radio broadcast)

Radio Concert No.1

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Chaz Prymek & Dylan Golden Aycock. From an untitled collaborative tape, coming in June.

Lake Mary & Talk West "Leaving Morning"

Saru are very pleased to announce that Trichromatic Moiré, a new double CD featuring realisations of a graphic composition by Thomas Martin Nutt, is now available. 

Martin’s work with the physicality of interference takes place within the beating patterns of a multi-sensory field, a Moiré, and to celebrate his wonderful compositions, SARU invited a number of artists from around the world to realise his work.

The release features interpretations by Tetuzi Akiyama, Harriet Butler, Sarah Hennies, Ryu Hankil, Ko Ishikawa, David Lacey, Sally Ann McIntyre, Will Montgomery, Joseph Clayton Mills, Shirley Pegna, Rie Nakajima & Marie Roux, Samuel Rodgers, Lo Wie, and Keiko Yamamoto.

www.sonicartresearch.co.uk

Sarah Hennies

Fahmi Mursyid - Lautan

Face [Glimpse] (with Oren Ambarchi & James Rushford)

23 March 2018

A new piece I made or edited for Points of Listening's Invisible Symposium at Iklectik. This is made entirely of different types of recordings of the US border fence at Tijuana Beach, and includes contact mic takes of the sea hitting the fence pylons.

A Study In Border Porosity (US border fence recordings at Tijuana Beach)

Arve Henriksen - The Plume Of Ash

Additional instruments, treatments and tape manipulation by Andreas Bonkowski.
Original taken from the LP "Finding Shore", available via @deadoceans

http://windowmagic.pm
http://windowmagic.bandcamp.com
http://facebook.com/windowmagick
http://twitter.com/window_magic

Tom Rogerson with Brian Eno – Rest (Window Magic Reimagining)

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Whispering winds, a cold shore, a layer of tired sunlight.

Clear-Cut

Robe rehearsal 181017

From 'TRACED', Pattern 04, Sonic Pieces, 2017

Swan Song

Taken from the third annual JJ Funhouse Christmas compilation tape, "Icicle"

TRACKLIST:

- A1 Ōgon Batto - Windows 
- A2 David Edren - Ijskristallen 
- A3 Roger 3000 - Gift Ceremony 
- A4 Masahiro Takahashi - Touji 
- A5 N Chambers - Glass

- B1 ssaliva - blood 
- B2 Oval Angle - Louter Mist 
- B3 Alpár - Triff mich unter dem Mistelzweig 
- B4 Accou - Hf2 
- B5 Jan Matthé - Cosy oh Cosyan

www.jjfunhouse.com/catalogue/jj018

Icicle - Christmas Compilation vol.3 (MP3)

N Chambers - Glass

Music by Charlie Piper
Performed by Alarm Will Sound
Live at the Mizzou International Composers Festival, July 28, 2012

Zoetrope

Sound sketches, samples and loops on tape by Jesper af Trolle Svensson.

Also involved in universal boogie band SONSON, 

and collaborative project Ö:

Robe rehearsal 181017

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