TR135 - Church Andrews - Parallels - 'B5'

The Soundscape Speaks - Soundwalking Revisited (2021)

"The sound environment has much to tell us about the coming climate crisis. It simply 'voices' all activities—and if we dare to really listen, we may sense the depth of the environmental trouble the world is facing. During the past year I decided to re-examine the many sound recordings I have made since approximately 1977/78, when I got my chops in field recording while producing and broadcasting my radio program Soundwalking on Vancouver Co-operative Radio.
Without knowing it then, it formed the base of my recording approach for many years to come. The idea of including my voice while recording the environment was there from the start and was based in the desire to acknowledge my recording presence to the radio listener. In other words, in speaking together – acoustic environment and voice – a relationship between soundscape and human vocal expression was revealed. 
Upon the kind invitation from the BEAST FEaST 2021 to create a new sound piece, I decided to use the opportunity to reflect back on my more than 40 years of sound recording and composing with environmental sound. I have brought together many of my recordings and compositional approaches in a fluid stream of listening while also softly speaking my mind about issues of soundscape ecology. The festival’s theme is “Recalibration”. The Soundscape Speaks is an invitation to open yourselves to the complexities of listening itself and the possibilities it may offer to recalibrating your own relationship to the environment.”

Hildegard Westerkamp is a German Canadian composer, educator and radio artist whose work since the mid-seventies has centre around environmental sound and acoustic ecology. Her compositions draw attention to the act of listening itself, to the inner, hidden spaces of the environments we inhabit and to details both familiar and foreign in the acoustic environment. She has written numerous articles and texts addressing issues of the soundscape, acoustic ecology and listening, has travelled widely, giving lectures and conducting soundscape workshops internationally. She is a founding member of the WFAE.
https://www.hildegardwesterkamp.ca/

This piece was presented at Oscillation Festival ::: Public Address, on Thursday, 28/4/2022 at Decoratelier, Brussels. More informations on the Festival's program:
www.oscillation-festival.be/2022/

Hildegard Westerkamp ::: The Soundscape Speaks - Soundwalking Revisited

Exploring the potential of music as pure texture, this week's TANK Mix of tactile electroacoustic environments comes from Milan-based sound artist and label head Daniele Guerrini, whose debut album X, Wheel was released on PAN last year.

Tracklist:
Irena And Vojtech Havlovi - Mysterious Gamelanland IX.
Shakali - Harhama
Michel Chion - Coup de soleil sur un vitrail
Ryuichi Sakamoto - A Rain Song
Heith & Teguh Permana - unreleased
Dawuna - The Ape Prince
Michael O’Shea - Voices
Peter Christopherson - In My Head A Crystal Sphere Of Heavy Fluid
Benjamin Lew & Steven Brown - S’ignorer
Per Nørgård - I Ching - Thunder Repeated: The Image Of Shock
Heith - unreleased
Elijah Minnelli - Cud
Klein - hope dealers
Serafina Steer / John T. Gast - Garden Of Love
PRICE - Come Back To Me Now feat. Leonardo Rubboli (guitar demo)

Photo by Sam Clarke.

TANK Mix: Heith

Lyrics:

I’m burning wick to fingertip with sage
from my shaky-shakin hands
Millie, what have you done to me,
my friend?

I’m tossin’ turnin’ in an open grave
coined-tongued with whatever I can save,
carrying hauntings of a brand-new age—
Millie, can’t you see I slide
planchettes with my wake?

Catch me walking with the ghosts again
Must be on that double dose, depends
Roman chamomile all down the throat, lift hands
In Michigan, the lakes all darken
Blackbirds flocking to and fro, sevens
Roots drag marsh over the floor, levelin’
Millie, can’t you stop them? You slow no omens
like exhaling, it never ends

I’m coughing up elderberry on the stage
like your sacrificial lamb
Millie, hypnotize pain away, I beg

I’m whisper-hissing notes on every slate
that I scribe and toss into the hungry waves
carrying itchings for a familiar ache
Millie, can’t you see I made a walking stick out of my stake?

Catch me walking with the ghosts again
Must be on that double dose, depends
Roman chamomile all down the throat, lift hands
In Michigan, the lakes all darken
Blackbirds flocking to and fro, sevens
Roots drag marsh over the floor, levelin’
Millie, can’t you stop them? You slow no omens
like exhaling, it never ends

Three redwing blackbirds outside my window
two fish heads at my door
What be this omen, I’ll never know
Millie, warm the kettle once more

Three redwing blackbirds outside my window
Two fish heads at my door
One kettle bubbling atop rusted stove but
Millie, warm the kettle once
Millie, warm the kettle once
Milly could you so please be 
a kind old dearie just for me
and warm the kettle’s tea once more?

Catch me walking with the ghosts again
Must be on that double dose, depends
Roman chamomile all down the throat, lift hands
In Michigan, the lakes all darken
Blackbirds flocking to and fro, sevens
Roots drag marsh over the floor, levelin’
Millie, can’t you stop them? You slow no omens
like exhaling, it never ends

Millie, Warm the Kettle (Dorm Demo)

@ttuttle: drumset, percussion, xylophone, misc
doug: bass, zither, bulbul tarang, percussion, strings, harmonium, misc

poopy pup

風に乗っていこう

“The country is becoming a site of extremes...”

In this week's TANK podcast, Mohsen Mostafavi discusses his new book Sharing Tokyo, an erudite collection of essays on Tokyo as a shared architectural space.

Mohsen Mostafavi on Sharing Tokyo

Richard Seymour responds to the arguments of Jonathan Freedland and other liberal Zionists who, despite the marginalisation of the liberal Zionist tradition within Israel itself, continue to produce talking points for supporters of Israel and the Western media in their coverage of Israel-Palestine.

Excerpt - Richard Seymour on liberal Zionist apologetics

Israeli officials keep openly saying again and again that the plan for Gaza is ethnic cleansing, yet the western political/media class adamantly insists on continuing to frame Israel's actions in Gaza solely as a war against Hamas. Hamas isn't the target, it's the excuse.

Reading by Tim Foley.

The Goal Is Ethnic Cleansing, Not Defeating Hamas

Recorded on April 2, 2016, at Cafe Latino in Asakusa, Tokyo.
Kyoko Yamamoto (trumpet, vocal), Mariko Ishigaki (accordion, vocal), Hauka Ii (baritone sax), Takuya Matsumoto (bass), Michitaka Nakajima (percussion instruments), Yasuo Akai (piano, vocal).

Arroz con coco (Lucho Bermudez cover)

kyouto around1995years field recorded and made the tone of  the piano of ouki highschool and the tone which walks along a hallway１９９５あたり.京都鴨き高校のグランドピアノや　廊下歩く音やらをもとにつくりました。

Faint Memory

私とピアノ

(Releases)
Flogging an Un-dead Horse (CD-R) 
http://irregular.sanpal.co.jp/?p=4305
Diderot's Clock Man (Electronic Musik, 2011, Attribution-Noncommercial-No Derivative Works 3.0)
http://www.archive.org/details/DiderotsClockManem136
Classwar Karaoke 0017 Survey (Classwar Karaoke 2012, compilation)
http://freemusicarchive.org/music/Classwar_Karaoke/0017_survey/
(Writings)
Fill Up the Square, Square the Circle
http://independent.academia.edu/YasuoAkai/Papers/806031/Fill_Up_the_Square_Square_the_Circle

Arroz con coco (Lucho Bermudez cover)

Yasuo Akai

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