Milkwood April 2021 Playlist

Fieldy

@felicity-mangan

Tracklist:

Dialect - Yamaha Birds 1 
Maria Karpovich & Felicity Mangan - Untitled
Hideki Umezawa & Andrew Pekler - Dokkyaku
Vlad Dobrovolski & Sugai Ken - Advanced Retrospective Shit-phonic 1
Olli Aarni - Hehkuva 
Audrey Chen & Hugo Esquinca - Untitled 
FRKTL - Excision After Love
Grand River - Canopies 
Jacob Sachs-Mishalanie - Aogaeru
Felicity Mangan - Frog field recording
Tomoko Sauvage - Flying Vessels
Lucy Railton - Part 3 (5 S-Bahn) 
Felicity Mangan - Double-headed Emu 
Felicity Mangan - Until Next Summer (featuring field recordings by Stas Sharifullin)

Guest mixes 2020

Episode 13: Felicity Mangan

Heimat is Zwheimat.

A. and O.  are back and with Baggersee, and the ride is jerky. Eponymous adventure of the shallow pool of Illkirch-Graffenstaden, pretty sure you can listen to the distant sounds of the trains flow between Kehl and Strasbourg, lost in a dystopian land between water and earth, nearby some open sky cemeteries. 

Collaboration between Teenage Menopause Records and Cry Baby, 
releases May 7, 2021. https://teenagemenopause.bandcamp.com/album/zwei

Zwei

NTOAB Jeez is - Heimat - Baggersee

Lea Baldazza invite Rogue lvl pour une douce exploration dub-aquatique et planante, suivant des courants chauds downtempo et reflux de breaks jungle, dubstep, et plus encore.

More infos and tracklist at www.lyl.live

Soft Frenesia w/ Rogue lvl (20.04.21)

Mahler (in/a) Cage | Casetta di Composizione – Sergio Armaroli & Alessandro Camnasio

Soundlapse | Various artists

 As a composer and sound artist often working closely at the nexus of radiophonic art, environmental sound and electroacoustic music, one of my primary interests is in the exploration of relationships between people and the incredibly rich sonorous environments they populate. In particular, the sounds that exist all around us, however that are often out of earshot (or at least not listened to in any conscious manner), as with the sounds beneath us as we tend our daily lives.
terra subfónica is a radiophonic work reflecting aspects of sub sound through a series of dramaturgical, radiophonic miniatures. Sub sound in this instance is not a term indicating low frequency sound, as in bass material, but rather a radiophonic suite reflecting and meditating on aspects of that which is below us; ultimately mapping a sub sonic terrain lying just below, or on the periphery of our (typically) perceived threshold of hearing. The sounds and sonic fragments chosen to represent different aspects of sub sound have been used as a basis for generating the narrative/ dramaturgical structure in each of the miniatures. Shards of familiar, strange, overlooked and unheard sounds coalesce, as metaphor and sound arcanum guide the listener throughout each of the works in the suite.
Importantly, the content and presentation of terra subfónica gravitates around an eclectic array of soundart works exploring the medium of radio. In an attempt to explore my own perception of the medium of radio, I wanted to produce a diverse body of work, from field recordings and instrumental music to electronic music and beyond. This also meant creating 2 monophonic soundworks expressing my interest in sonic possibilities for monophonic sound diffusion environments, as well as employing various experimental sound reproduction techniques to compose, as well as preserve the actual spaces several of the works inhabit.
Although combining to create a suite of works with a common theme, each miniature functions as an abstracted narrative in shorter, self-contained parts, as with works in a suite. The works often include recordings of instrumental material, designed to assist the listener in mapping/ navigating the constructed works, and occasional vocal sounds that are employed to articulate human presence rather than to impart any specific narrative.

More Infomation: http://www.gruenrekorder.de/?page_id=9841

Terra Subfónica | Daniel Blinkhorn

The Aeolian Harp (also called Wind Harp) is a string instrument that is played by natural wind. It sounds like layered feedback or drones with rich harmonic textures that will change continuously according to the wind direction, strength and consistency. One day, I bought the materials at the local DIY store and built a small Aeolian Harp. I brought the harp outside on windy days, but it made no sound at all. Through trial and error, by altering the string materials, tension, and the angle against the wind, it finally produced a sound.

The harp resonates with the surrounding environment, changing from place to place. I put two lavalier microphones into each of its two holes to clearly record the tiny resonant sounds, without too much wind interference. What is intriguing to me is that the recording will inevitably include environmental sounds from near and far which are condensed and slightly modulated by the harp. In a way, I use the harp as a kind of transducer as well as sounding body to interact with the environment through the forces of the wind. The recordings themselves are ecological, meteorological and geomorphological observations at a certain time and place.


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http://www.gruenrekorder.de/?page_id=16674
http://shop.gruenrekorder.de/?full#Gruen_182

Path of the Wind | Eisuke Yanagisawa

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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"

I think that The world changes by the situation of a listening person. . . .

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W.E._aa