AFFAIRE - homenage a Francoise Barriere

Tracklisting
Beatriz Ferreyra – Echos (1978)
Hilda Dianda – Después del silencio (1976)
Jacqueline Nova – Creación de la tierra (1972)
Jocy de Oliveira – Wave Song (1981)
Oksana Linde – Mariposas acuáticas (1985)
Vânia Dantas Leite – L’Indien et L’Ovni (1986)
Nelly Moretto  –  Composición 9b (1966)
Marlene Migliari Fernandes  –  Espectros Cromáticos (1967)
Graciela Paraskevaídis  –  Algún sonido de la vida (1993)
Graciela Castillo  –  Y así era (1982)
Olga Pozzi Escot  –  Three Poems of Rilke (1959)
Alicia Urreta  –  Dameros I (1984)

Published at: https://soundsandcolours.com/articles/peru/raro-13-ale-hop-female-pioneers-of-electronic-and-electroacoustic-music-in-latin-america-59928/

Mix RARO 13 "Female Pioneers of Electronic and Electroacoustic Music in Latin America"

Field recording with 'Circular Sferics' Radio Antenna Sculpture. VLF and DIY electronics circuit in custom built form. Recording naturally occuring electrical atmospheric phenomenon in Yorkshire Sculpture Park. Part of the Convention House Residency project 'Circular Sferics' August 2022 with East Street Arts.

Circular Sferics_Radio Antenna_VLF_Yorkshire Sculpture Park_1.WAV

Sélection Prix Découvertes Pierre Schaeffer

Elise Bonifas, 3h30, 
7’49, autoproduction, France

D'après une étude menée par la société spécialisée App Annie, nous passons 3h30 sur nos smartphones. En branchant mon téléphone sur mon ordinateur, j’ai récupéré toutes les discussions vocales que j’ai eues avec une amie sur un an. Je me suis aperçu que c'était un réel espace de soutiens, de réconfort, un lieu où se dépose une parole, où l’on se raconte à travers nos histoires et la banalité de nos quotidiens. Un écho de nos espaces ondulatoires.

Compositrice et violoniste au sein de la Cie L'ETE, elle obtient en 2021 son brevet d'électroacoustique au CRR de Toulouse. En 2022 sa "miniature acousmatique" est jouée au festival FUTURA.

Elise Bonifas_3h30

Mix of three excerpts from our upcoming 3LP/2CD archive of Else Marie Pade's electronic work.

Else Marie Pade Electronic Works- Excerpt Mix

This work is an acousmatic single sound source work for water, which explores the transformation and trajectory of water. Using a single sound source creates a strong relationship between the sounds. Contrast is achieved by using both natural and sourced water sounds. By using these two types of water categories enables interesting textures to be created. Natural water sounds come from natural water sources created by nature including; fountains, fish movements, outside rain and dripping. Sourced sounds comes from water that has been tamed and domesticated by humans including; marinas, locks, docks, ponds, bathroom noises, garden fountains, fish tanks and rain on different manmade surfaces. This work experimented with Denis Smalley’s concept of ‘causality’ in a variety of ways, including cause and effect. Smalley’s concept allows the work to experiment with gesture as a formative element. There are moments of buildups, climaxes, attacks, releases, which create intensity and depth. This aids and helps the work transition into different sound worlds and spaces. 

Locks, Docks And Liquid Hydrogen (2013)

Tombeau pour Françoise Barrière

HOMAGE TO WOMEN COMPOSERS

Trailer - HOMAGE TO WOMEN COMPOSERS 01 Five Caprices - In Ab major

This piece is part of a larger project (http://hebrides-suite.co.uk) that attempts to both explore and communicate something about history and memory related to the Outer Hebrides of Scotland, through sound.It uses a mixture of monologues, field recordings and interviews collected during a number of trips to the Outer Hebridesas well as material from existing oral history archives.
The voices and recordings in 'Tweed' were recorded over a number of visits to the Outer Hebrides, remote islands off the North west coast of Scotland. The first voice, of weaver Catherine Campbell, was recorded in her weaving shed and shop in Plocrapool, on the east coast of Harris.She is proud of her independent status as a weaver who “doesn't work for the mill” but works for herself. The next voice heard was recorded in a weaving shed near Callinish on Lewis in 1998 as the weaver tried to show me and my friend how to us the Hattersley loom. Threaded inare various atmospheres, voices and mechanical sounds from mill at Shawbost, Lewis recorded in 2006 just as it was about to be sold. As well as the various machines for the washing, drying, dying and spinning of the yarn the weavers are heard explaining some of the physical elements of weaving many of which form spatial templates for the treatment of the recorded material in the composition.

A paper about this work can be accessed at ww.shimajournal.org/issues/v5n1/h.%20Lane%20Shima%20v5n1%20114-127.pdf


Tweed

https://getphysicalmusic.lnk.to/GPM573

Man Power and SIS remix M.A.N.D.Y. vs Booka Shade feat. Laurie Anderson - O Superman 

Arguably one of Get Physical’s most influential tracks, ‘O Superman’ sees a new release with remixes from Man Power and SIS alongside the 2008 version from Robag Whrume and a remaster of the now classic original. 

Man Power kicks off the new interpretations with an epic, ten and half minute version that patiently stretches the original’s melodies into pads and held bass tones across crisp, micro-house styled beats before unleashing loose, clattering breakbeats after a striking, extended breakdown. 

SIS’s dreamy, percussive version sees the German producer in hypnotic, and tracky form, focussing on the ebb and flow of the original’s tuneful vocoder and synth work that drift across his perfect groove. 

Robag’s Pumper-Nikkel remix, for those that missed it some years back, is yet another funky, chopped, sliced and diced piece of work from the playful producer and still sounds as fresh as ever. 

M.A.N.D.Y. vs Booka Shade feat. Laurie Anderson - O Superman Remixes are also released on Get Physical 12”. 

@m-a-n-d-y
@booka-shade
@manpower-1
@djsis
@ robag_fm

O Superman

O Superman (SIS Remix)

M.A.N.D.Y. Vs Booka Shade Feat. Laurie Anderson - O Superman (SIS Remix) Snippet

ELSE MARIE PADE & JACOB KIRKEGAARD
SVÆVNINGER

IMPREC382   LP

Else Marie Pade (born December 2, 1924 in Aarhus) is a Danish composer. An educated composer, Pade pioneered electronic music and concrete music in Denmark. In 1954 Pade became the first Danish composer of electronic and concrete music. She knew and worked with Pierre Schaeffer and Karlheinz Stockhausen.  Pade was active in the resistance during the Second World War, and was interned at the Frøslev prison camp from 1944 till the end of the war. An archival collection of Else Marie Pade's electronic work will be released on Important in 2013.

Jakob Kierkegaard is a Danish artist who explores sound art from a scientific perspective. He has released 3 solo records and a collaborative work with Phillip Jeck for the esteemed Touch label.

 Despite an age difference of 51 years, Else Marie Pade and Jacob Kirkegaard speak a similar musical language and are prominent listeners and communicators of sounds that we tend to overhear. For the first time these two pioneers are collaborating on a new work: SVÆVINGER investigates the variations that one can hear when sound waves collide. Both artists have previously worked on this phenomenon; Jacob Kirkegaard in his work Labyrinthitis (2007) and Else Marie Pade in her work "Faust Suite" (1962). For their new joint piece SVÆVINGER, they remixed some of Pade's early (and hitherto unreleased) sound experiments with some of Kirkegaard's recordings from his own ear, thus leading the audience straight into the undiscovered labyrinths of their own hearing.

"Cirrocumulus, Cirrostratus, Stratus" by Else Marie Pade & Jacob Kirkegaard IMPREC382

I am an electroacoustic composer who specialises in acousmatic works and sound installations. My works also incorporate interaction, soundscape, improvisation, multichannel surround, sound design and live performance elements. I have an MA in electroacoustic composition and sonic art from Liverpool Hope University. I am currently conducting a practice-based PhD in electroacoustic composition, exploring the concept of ‘homage’ as a device and approach within compositional practice, specifically to highlight and celebrate the music and output of forgotten early women electronic music composers. I also design and deliver sound-based workshops for participants to learn how to compose with sound.

My work has been performed across the Northwest including venues such as the Capstone Theatre, Congleton Town Hall, The Royal Northern College of Music and across Halton Libraires venues (Ditton, Widnes, Runcorn, and Halton Lea Library). My compositions have been featured on the radio, most recently on BBC’s Merseyside’s ‘Folkscene’ programme. I was also a finalist for Liverpool City Region Culture and Creativity ‘Impact Award – Health & Wellbeing’ (2021), for my immersive interactive audio-visual sound installation ‘dɪsˈlɛksɪə ˈɡeɪtweɪ (dyslexia gateway)’, which highlights the dyslexic’s perspective.

Locks, Docks And Liquid Hydrogen (2013)

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