Eclectic Electronic Soundscapes -
Sound uttered with resonance......sometimes with added processing.
As with all the playlists, they are jumping off points to discoveries. They are not meant to be definitive. Just let some of the tracks play onto the next....follow up on "sounds like"....see who's following, many artists follow other artists.....
Artists are -
Marjorie van Halteren, Felicity V Ford, Shanttal Saad, Caitlin Franzmann, Humanfobia, Yoko Higashi, Rebecca Lee, Caro C, Nichola Scrutton, Maria Minerva, Ann Key, Conspiritors of Pleasure, Laura Mello, CHICALOYOH, DJ Lady Lane, tay_ploops, LAIR, Lady of Fire Poetry, Georgina Brett, Jeanne Manford Manford, AMET, Lola de la Mata, Lucia Luna, Ines Terra, Marcella Lucatelli, Dixie Treichel, pinnel, Marlo Eggplant, Franziska Baumann, Melissa Vargas, AGF, Ana Quiroga, AMMA, Patrizia Oliva, Viv Corringham, and Sharon Gal.

Feminatronic #136  - I hear Voices #5

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Bandcloud - January 27, 2017

Poetry collaboration with Jeff Gburek, Him in Poland and me in france.

LIVES OF THE POETS

This is one of the tracks created in the course of researching and developing an Arts Council England supported sound project called "Hearing Catherine" for the Charles Dickens Museum.

"Hearing Catherine" is a trail of six sound pieces spread around the Charles Dickens Museum. Each piece has been designed to give presence and texture to the memory of Catherine Dickens throughout the house in which she and Charles lived from 1837 - 1839. The works combine carefully sourced field-recordings with extracts of text written by Catherine Dickens and music composed by her friends and her father.

This piece has been developed in the course of working on the sounds for The Morning Room. It takes the mantel border that Catherine embroidered as its inspiration. The sounds of embroidery and of counting out squares in canvas to determine which colour of thread should be used in each square have been used as a starting point. Into this have been layered the sounds of scissors cutting embroidery thread, needles hitting against thimbles, and the quiet and concentrated breathing resulting from work on intricate textile projects. The clock’s ticking is used to represent the hours spent on needlework projects by middle-class Victorian women like Catherine.

In the Museum installation, two separate tracks come out of the left and right channels through individually hand-knitted speakers that are nestled in a sewing table; This structure has been retained for the digital sound file here, to give the sense of two different sets of very quiet sounds jostling around together in a sewing basket.
 


Catherine Sewing

Nuevo ejercicio que hice con sonidos de órganos internos: el corazón y la garganta tragando, una caja y voz. 

SIGUE

Listen to Johanna Knutsson and Kate Miller live at the next Oscillate on 26 November 2016 at ://about blank.

https://soundcloud.com/johannaknutsson
https://soundcloud.com/katemiller

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Oscillate Podcast N°16 selected and mixed by Low Power FM

Here is the track listing for the mix I created for the Louis Vuitton A/W 2017 Men's Presentation.

1. Can You Feel It ( MK Dub )             Chez Damier
2. In The Mix                                         The Mixmasters
3. Masterblaster                                   Joint Venture

Louis Vuitton A/W 2017 Men's Show Soundtrack mixed by Honey Dijon

Improvisation song with ultra mini synthe & voice, recorded on live at home
Additional voice: Kyô MH ( texte from La légende sur les Nartes)
Photo : Martin Holtkamp

Impovisation song for a sunday early night by hamaYôko

Brostep In The Style Of Florian Hecker is an eight channel electroacoustic composition that challenges ideas of economic and cultural values within sound art and contemporary computer music.

Drawing upon Florian Hecker’s piece Acid In The Style Of David Tudor (2009), which explored the similarities of acid house and works by Tudor such as Pulsers (1976) or Neural Synthesis (1995), Brostep In The Style Of Florian Hecker investigates the similarities of brostep with Hecker’s work such as Sun Pandämonium (2003) and Acid In The Style Of David Tudor (2009).

Using the consumer software Massive, and specifically the preset bundle Loopmasters Present Dubstep Synths Massive Presets, Buckley uses Ableton Live LFOs across multiple parameters to work with the presets in order to emulate Hecker’s work. The sounds are then placed across the eight speakers using GRM Spaces.