We’re currently switching over some of our projects onto other sites. We’ll send a notification out once this is done. Thanks for your patience.
|20.05.02 | Tim Parkinson, Michael Parsons, Manfred Werder
Manfred Werder. für eine(n) oder einige ausführende(n) (2001-)
A very limited edition print of the original concert flyer was made available from Compost and Height to accompany this download. It has now sold out.
Tim Parkinson discusses 20.05.02:
I met Manfred Werder in 2001. He was living in Whitechapel at the time. We used to meet in Hoxton and have long conversations over Guinness. In our conversations, amongst everything else we had no doubt talked about simultaneity as a structure, as a natural feature of the experience of sound in the world. Manfred’s music exists as part of the sound of the world, and I was exploring simultaneity in my music at the time.
In 2002 Manfred was no longer living in London. He proposed a concert together with Michael Parsons of three works performed concurrently. (I like the description that they are concurrent. It implies specific and parallel threads to pay attention to, rather than the word “simultaneous” which implies a more open general blend of identities.)
I had been performing concerts at St Cyprian’s church since 1999.It is a church on Glentworth Street, near to Baker Street. It was reasonably quiet and cheap to hire. There were chairs instead of pews. For this concert, Manfred removed most of the chairs, leaving a large open space. Instead of having the piano at one end, he placed it in the middle of the space, a little to one side. Michael Parsons played the organ which is at the back of the church. Manfred performed with David Ryan and Tania Chen seated around the sides of the performance space.
Manfred’s piece was für eine(n) oder einige ausführende(n) (2001-) performed by Manfred on guitar, David Ryan on bass clarinet and Tania Chen on violin. für eine(n) oder einige ausführende(n) is an early text score of his that features the words a lot of time / a few sounds / for itself / simple.
Michael’s piece was Levels in a new version for organ (2002). Levels had several previous incarnations, for example as a stereo recording for Greek Radio in 1990 and as a 4-channel installation at Kettle’s Yard, Cambridge in 1996. The pitch material is all derived from an early version of the piece made in 1968.
I chose to play my four pieces (2000) for piano, each of the pieces performed at predetermined points widely spread apart within the hour.
The performance was to last 60 minutes.
|Adam Sonderberg – Older, Less Explicit Promises of Failure|
Recorded 11 November 2008 at home in Chicago. Sonderberg – bass drum, Weber – contrabass
|Agnès Palier & Olivier Toulemonde – Les Galets Creux
An attempt at a (non) exhaustive sound inventory. To be completed by the listener:
Recorded live on 31/10/11 in Piednu – Le Havre, by Emmanuel Lalande.
|Ben Owen – wg3-20070519
Recorded at the Experimental Television Center, Owego, NY. Unprocessed field recording using double stereo contact mic’s, attached out the third floor window onto the base of a roof gutter. The sounds of birds eating bugs and flys from the gutter.
|Ben Owen, Mike Shiflet, Brendan Murray
Live at Supreme Trading, Brooklyn, NY. October 2008.
|Benedict Drew – A folding table (external link)
This album was first pencilled for release on the label Confront we changed our minds about it and now it is offered free of charge and with out any restrictions whatsoever. A new set of works are now being made for Confront . A Folding Table was made in Whitstable, Kent 2006 – 2008
FrauFraulein – Billy Gomberg: Access Virus | Anne Guthrie: French horn | “Beautiful Orca, Yr World Is Yes”
|Bonnie Jones – Jones Family Farm
Jones Family Farm was recorded in May 2008, Amsterdam, STEIM. The text is from Eunoia “Chapter I” by Christian Bök, a section of the book that only uses words with the vowel “I”. Please be careful if you have sensitive ears. The first few minutes of the piece have many “eyes” as well.
|Boris Snauwaert – Abandoned Rain
“These field recordings of rain dripping in an abandoned (and largely destroyed) cotton mill are part of an ongoing series of sound recordings of places and landscapes in the nineteenth-century belt around Ghent, Belgium.”
|Brian Beaudry – How Would You Describe Yourself
How Would You Describe Yourself – Vancouver, BC – field recordings and equalizer | This began as a series of recordings involving the capture of natural sounds within an urban environment – downtown Vancouver in the summer. As I focused on the sound event of my choice with my microphones, I similarly edited the recordings to remove the majority of the dynamic range of traffic, pedestrian and HVAC sound. What resulted are sounds no more or less valuable to the ear than those that were removed (at least to me).
|Bryan Eubanks – No reunions
Electronics, fm transmitter, dsp | Developed January – March 2010 | Recorded on March 3rd, 2010 in Brooklyn, NY | An improvisation exploring the impact of distance and time on both material and personal relationships
|Casey Thomas Anderson – Kitchen (206)
Electric stove. Vent. Teapot. Refrigerator motor. Coffee brewing. Newhall, California, 2009. Kitchen (206)
|Cedric Peyronnet – Col de Puymorens
Unprocessed wind recording made on the Col de Puymorens in April 2002 using four microphones inside the tubes of a billboard stand during a mild snow storm. The recording was mixed live to DAT.
|Charlotte Law & Artur Vidal | Ode Action to Hélène Smith
Hélène Smith was a medium and glossolalist, famous in Vienna at the turn of the XIX century for her mysterious speech in Sanskrit and Martien.
With the support of linguists such as Ferdinand de Saussure, the psychologist Théodore Flournoy made an effort to understand Smith’s exceptional skills in speaking unknown languages, while her non intelligible speech can be read as a form of a ‘vocal utopia’: an attempt to exceed the social boundaries embedded in language.
Building sounds and a mysterious sculptural object made from the fragments of a previously deconstructed piano, Ode Action to Hélène Smith ventures across the uncertain frontier that separates the discovery of new forms of communication and the urgency to exit the language.
6 July of 2014
Read Charlotte Law’s accompanying text here.
|Chris Cogburn, Bonnie Jones and Liz Tonne – No Idea Festival 2008
Chris Cogburn (percussion) Bonnie Jones (electronics) Liz Tonne (voice)
Recorded live at the No Idea Festival 2008 in Austin, Texas on February 16, 2008 by Ryan Edwards. A short video of the piece can be found here
|Daniel Jones – Live at Seeds and Bridges
“My second ever solo performance recorded on the 18th of October 2007 by Jez riley French at the Artlink Exchange in Hull as part of the Seeds & Bridges series of events.
Electric guitar, turntable, CD player and modified CD’s, sampler, and amplified objects.
|Daniel Menche – RHS choir
I work at a high school librarian here in Portland, Oregon. Once a week there’s a choir class and occasionally I will poke my head in to hear the kids singing. The singing can be a bit rusty mainly due to the shyness factor in the young voices and or the reluctant learning of the music notes from the choir teacher. I really like that rough-awkward singing from the kids and it reminds me of being in choir as a little kid myself and I HATED IT! Mainly because I didn’t understand music notation……nor did I want to. Well, anyways, I’m always thinking of ways to get young folks to have fun with sound and such and I had an idea to use these fine choir students for a future recording, utilizing their awkward singing sounds. My strategy for the kids was VOWELS! Every kid knows vowels! Easy right? A-E-I-O-U and just sing those letters as long as possible is what I will instruct the kids to do. I mentioned to the choir teacher that I will be coming in and taking ten minutes of the student’s time to record them for an album and the teachers were cool with it but also very confused. How can I be a known recording musician and not know about flat Cs or sharp D’ or whatever that jargon is. I told them…”Don’t worry….the kids will have fun and it’ll sound fantastic.” And so I barged into the classroom and hit record on my little recorder and began with the VOWEL singing game with the kids. The sheer state of confusion on their young faces was rather beautiful and the singing was fantastic to my ears. This recording is the raw unedited “as is” document. Later I did indeed work with the singing sounds and completed a full recording as yet released but this raw recording has a charm to it of the kids being confused and having some fun. The look on the choir teachers face when I had everyone screaming in different vowels was priceless. I can see her facial expression screaming at me “Music notation blasphemy!!!”…I respond back “Yep, sure is and now look at all the smiles on our kids”.
“Hover” has since been released on Touch Records – click here for details
|Diatribes and Hannah Marshall
Cyril Bondi: bass drum, objects | D’incise: laptop, objects | Hannah Marshall: cello recorded at Dampfzentrale, Bern, ch, 15.10.2010. Mastering by Christian Weber.
|Dominic Lash – Erogen
For live electric guitar and prerecorded bass drum, contrabass, electric guitar and field recordings.
This track is based on the live recording of the piece’s debut, at PolyPLY 17: erosion in London. The other performers were Brian Catling and Ian Heames.
Many thanks to Will Montgomery.
Further reading: Inconclusive Paragraphs on Metonymy, Monochromaticism, Materialism in Wolf Notes #3.
|Dominic Lash – Ledig Lullaby
Being a blend of eight untreated field recordings of different lengths collected in upstate New York between the 27th July and the 3rd August 2010 at various locations (and at various points of the day and night) on the premises of the Omi International Arts Centre. Who said the countryside was quiet?
Edited and compiled in Geneva and Oxford in January 2011. Special thanks to Jeffrey Leppendorf and everyone involved in Music Omi 2010.
|Dominic Lash – Noon Draw
Dominic sent us this track as we were in the midst of assembling work for our split series, the inevitable happened, he changed his mind, we changed our minds, and we are now left with this wonderful improvisation. Rather than let him have it back, we thought we’d upload it here for you all.
|Elklink (Graham Lambkin & Adris Hoyos) ‘Farm Stories part 1’
“I was beginning to feel rather saddened by the initial optimism now undermined by such jerky abstraction, when boom!…Elklink…Hmm…Such fine, nice folks, too. Over from England, not a reptillian bone about Graham Lambkin and Adris Hoyos…Shadow Ring vagabonds…”Well, I thank it went accadin’ ta plan”, Lambkin commented to me when asked about their performance while under the rush hour heat of learning all about parking meters in between the show’s intermission. You betcha’, if your plan was to have a pre-recorded tape sail the sounds of ‘carrots gittin’-chopped up” as some guy named Scott, who looked too much like AL Franken wearing an orange jumpsuit, stands and literally shreds a dozen carrots with a grinder onto a plastic bowl on-stage in obvious effect and product to the sound that seems to be the only thing doing much of anything; while Lambkin rips open the flat of his guitar strings with screws and all compressors available on hand, and lastly, Hoyos, back turned to the audience, slapping one cymbal for half an hour to an absolute pulp, hellenic rape and nothing stands stood…yeah, sure, it went all to plan, jesus. But I believe, and boy do I, that there are a few people left in this world who take life a little more seriously besides shootin’ up a lot of urban noise and indulgence that we and I all day pretend to call music, cuz’, well, hey, it’s easy. Stop!… Call Jack Rose” – Carson Arnold
Recorded at Green Chimneys rehabilitation centre, Brewster, NY. August 2002.
Graham Lambkin – Organ, Tapes.
|Emmanuel Mieville – La Perle Noire
La perle noire , source material recorded in St Nazaire, France, in an oyster park. The immersion sensation is stunning, although I’m not using hydrophones but aerial microphones. The high screeching sounds come from the waves violently moving the oyster shells. Eventually, the strong winds saturated the mikes, but the result was engaging so it remained untreated. Other electronic sounds are mixed in an attempt to dramatise the piece.
|Eric La Casa | L’improbable Horizontal East
Installed in the Gallery and the Queen’s Tower of the museum-castle, the installation is initially defined as a sound observatory of the landscape, specifically its water. It raises the question of representation (of landscape) through sound; how can sound teach us of absent realities from a visible landscape? How does this listening proceed from / concern measurement ? i.e. a sonic survey of the surface of the visible. The installation involves a pointillist dematerialization of the landscape, tracing from it a derived map. In this observed landscape, the ear thwarts perspective, connecting the listener to sonic singularities. In contact with these new territories, it creates another awareness of what confronts, often submerges, the listener.
|Evan Lindorf-Ellery – 3rd February 2012
This recording is a product of a mostly aleatoric process. It functions as a fragmented reflection of my last year in Chicago. Whenever I load digital recordings from a field recorder onto my computer, I always keep the snippets, mistakes and unintentional short recordings that probably won’t be used for anything. I once found myself going through these brief tracks and thinking about how they could function as elements of a larger composition, even if their existence was not originally intended. I decided to arrange them randomly, using the audio editing program Audacity. To create this piece, I made an empty sound file in which the tracks were placed. I sorted all my WAV recordings by size, and began randomly choosing small files, placing them—also at random without listening to them prior—in this empty space. I knew I did not want any digital silence, so I selected a few unknown longer pieces that seemed to have mostly consistent waveforms as a kind of “backing” for these sounds. I also randomly chose a few of the tracks and reversed them. Finally, I knew I did not want very loud or abrasive sounds, so I ended up vetoing some tracks. This piece is an aural reflection of the memories of my last year in Chicago. Because that year was a tumultuous time, their randomness also coincides with how those memories are stored and approached. I lived with my friend in a very beautiful neighbourhood, Ravenswood, and our windows were almost always open. Many of these recordings seem to be of the outside, but recorded from the inside of the apartment. The apartment and that neighbourhood were important to us. Some of the other recordings used in this piece are, evidently, from hydrophone recordings taken in the Chicago River, the resonances of a bridge railing, atmospheric classical music most likely from WFMT FM (which was often playing) and a brief one of my friend Travis tapping his drumsticks in a studio located in Berwyn, IL. One can also often hear the ubiquitous train crossing bell that sounded frequently and could be heard from our window. This recording is therefore an homage to this period in my life.
|Four quartets and four soli. The programme offers readings of four scores for open (string)quartet-settings and a quartet as a combination of four solo works. The setting of the traditional string quartet – two violins, viola and cello – is abandoned by replacing the second violin. Double bass player Dominic Lash joined the three string players Angharad Davies, Julia Eckhardt and Stefan Thut all active in the field of composed and improvised experimental music. The idea of bringing together the four instrumentalists is inspired by Michael Pisaro’s cycle of solo-works ‘mind is moving’: the cycle allows for presentations as solos or in various combinations of the single pieces. A version for string trio was performed in Brussels at q-o2 in 2010 revealing previously unheard constellations. The quartet scores cover various strategies combining precision and indeterminacy. Johnny Herbert’s piece minutes notes about a prescription for an action: the time of writing is still trackable in the score. John Lely defines durational aspects through the nature of the string instruments and their bows. Dominic Lash sets out a time grid in order to place actions that vary between processuality and stability. By the sparse use of signs Stefan Thut works with relatively determined systems organizing sound and silence. All of the pieces have in common to allow the sound of the environment accompanying the performed actions.
Angharad Davies – violin, Julia Eckhardt – viola, Dominic Lash – doublebass, Stefan Thut – cello.
|Franz Hautzinger and Enrico Malatesta (Radio Student)
Franz Hautzinger- Quartertone Trumpet, Enrico Malatesta – Percussion.
Recorded on 05/07/2011 at Radio Študent by Samo Pavlica- Linč
|Goh Lee Kwang – sickl2007
All sources are 4’33”, for no particular reason other than it is a magic number.
|Goh Lee Kwang | Stormy Weather
Recorded at my parent’s house, my hometown, Bukit Mertajam, Penang, Malaysia in June, July, and October 2007.
|Greg Davies | Fourteen Locations Along Hunter Creek
Recorded in December 2007 along Hunter Creek, near Payson, Arizona.
|Gregory Buttner | Saturday Night
I live in Hamburg, St.Pauli, and my backyard borders the partystreet ‘Reeperbahn’. So if I open the window on the weekend I can listen to a dense soundscape of drunken party people absorbed by the houses around my backyard. To create a contrast to this I produced a track of calm and stagnant sine tones. I played it at a saturday night on my open window and recorded it again with binaural microphones in my ears whilst I was leaning out of the window as far as I could. For a better dynamic I later mixed the original sine tone track on the same position to the record again.
|Heddy Boubaker – The Fall of the Empire
Bass saxophone solo improvisation recorded in Studio La Maison Peinte near Toulouse in april 2009, nothing more than a huge tube of Brass, air, and a few organic elements of my own.
|Hitoshi Kojo – Kumoma / Shigemi / Mogari
These pieces were originally made for a compilation album “Yasujiro Ozu – Hitokomakura” of “and/OAR” label, which was released in 2007.
The participants were ordered to make the piece based on the stills of Ozu’s movies. Probably many of you know his movies. His movies were based on so-called ordinary daily life of old days in Japan. At least it was my impression of his movies, even though the reality of my daily life in Japan was totally different… So, it was an interesting challenge for me to see how I can work in the gap of the reality. However it was much more difficult to adapt his movie’s image to my work than I had expected. Then, I needed to make up seven pieces until an acceptable one was made. Now I can say, all the other pieces were funnily different from the image of Ozu’s movie. Dale Lloyd(and/OAR) told me that some of them might have been suitable for the previous compilation for the movies of Andrew Tarkovsky. Three of them sounded listenable as they are. So, I decided to share them with you. They were all composed between the end of 2005 and the beginning of 2006 in Epesses and Cully in Switzerland. All the sound sources were only taken from field recordings in various places.
|James Mcdougall – An opening in the canopy
James McDougall (Entia Non). All recordings taken at dawn in Mount Glorious National Park, South East Queensland, Australia. Slightly abstracted impressions of moving through a rain forest.
|Jack Harris and Matt Webb – My mum was going to call me Matthew
Jack Harris – Electronics, Matt Webb – Double Bass
Recorded May 2012, high up, on the 13th floor, somewhere in London.
|Jane Dickson & Lawrence Williams – December 1952
December 1952 by Earle Brown. Recorded live at The St. Davids Room, King’s College London, September 21st 2010 by Lawrence Williams – alto saxophone, and Jane Dickson – piano.Lawrence Williams and Jane Dickson have worked together as a duo over the last year. Their work together consists of an interest in the meeting point of composition and improvisation and alternative methods of notation. Jane Dickson is a London based pianist and composer. She specialises in augmenting acoustic instruments with live electronics for improvisation and composition using custom built systems in Max/MSP. She is studying composition at doctoral level at Goldsmiths, University of London where her current interests are the aptness of the use of live electronics with acoustic instruments in composition, the notation of live electronics and performance aesthetics. Lawrence Williams is a tenor and alto saxophonist and composer. Having lived in London for the last nine years, he attended Eddie Prevost’s improvisation workshop during 2007. He currently lives in Budapest. He has a strong interest in interdisciplinary collaboration and works extensively with theatre, dance and sometimes circus. He continues to curate and organise concerts where and when he can which usually focus on placing musicians in unique and sonically interesting spaces.
|Jason Kahn – Room to Room
This 36-minute piece documents three recent site-specific sound installations I exhibited in the city of Aarau, Switzerland this year. In “Room to Room” I’m trying to achieve a sense of movement between the three spaces where the installations took place: a train station, a stairwell and an exhibition space.
Many thanks to Kunstraum Aarau for making these installations possible.
|Jason Kahn – Unheard Delhi (Wolf Notes)
For the month of November 2011 I was an artist in residence in Delhi with the Swiss Arts Council Pro Helvetia and the media research center Sarai. One of my proposed projects for this residency was a continuation of my “Unheard Cities” series of works, which I’ve been realizing since 2002. “Unheard Cities” explores how we perceive urban sound environments in the form of installations, musical performances and, in the case of “Unheard Delhi,” works for radio. In “Unheard Delhi” I interviewed eight people with the question, “What is your favorite sound or sound environment in Delhi?” I recorded all the answers and then went out in the city and recorded the corresponding sounds. The resulting recordings and interviews were then mixed together for an approximately 60-minute long audio portrait of the city.
The full text of Unheard Delhi can be found in issue 2 of Wolf Notes.
|Jeph Jerman – Live at Listen Space, NYC
From the first of two nights at Listen Space in NYC. My most minimal set-up yet. Pistachio shells, pine cones, rusty spring, superball bows, tin lids, wooden bench, brass bowl. The photo is of the floor behind the stage. Thank you Chris and Brian, Sarah and Patrick.
|Jeph Jerman – Putting the rabbit down
Coming home one evening I found a young rabbit on my front porch. a not uncommon occurrence, there were rabbits all over the yard throughout the day, but there was something different about this one: it didn’t run off as i approached it. I got to within a foot or so and it still didn’t hop away. i nudged it with my foot and it loped slightly sideways and then stayed put. I crouched down to take a close look and stayed that way for several minutes. The rabbit didn’t move. “obviously something wrong here”, I thought, and went inside. When i came out a few hours later, the rabbit was nearer my neighbor’s house, and still not running away if I came near. It was then that I noticed that it’s head was somewhat larger than before, and surmised that something was definitely wrong with it. I wondered if i should do anything, but eventually decided not to and went to bed. The next day when I came home from work the rabbit was in the driveway and I had to swerve to avoid hitting it. I had asked a co-worker who is knowledgeable about animals what she thought and she said it had probably been hit by a car, reassuring me that that didn’t necessarily mean that I had hit it. I wondered then if this animal was trying to commit suicide to relieve itself. I got out of the car and went over to look at it again. I’ll spare you the details but it was much worse off. I thought about killing it, but I couldn’t bring myself to do it. what if it would recover? I went inside. Coming out again several hours later I found the rabbit prone and barely alive. Putting on some old gardening gloves I picked it up and placed it in a grass-lined hole under a mesquite tree in my front yard. Then I went back in the house and got my recorder. Placing the microphones on either side of it’s head I recorded several minutes of the rabbit’s laboured breathing. I felt kind of strange about this, but I did it anyway, rationalizing that it was another fairly unique desert sound, and rabbits probably died every day, without me (or anyone else) noticing. By evening the rabbit was dead. I took it out into a large tract of land adjacent my house and buried it. A number of conundrums presented themselves around this event. Should I have “put the rabbit out of it’s misery”? should I have recorded it, or was this a ghoulish act? Should I do anything with the recording, or should I delete it? The recording resided on a shelf in my studio for a couple of years, and I thought about these things every so often. Recently, while working on some other field recordings, I decided that the rabbit recording would fit in with what I was working on, so I mixed it in. All the old questions came up again, and I wondered what to do with the finished piece. I told the story to a couple of good friends whom I was visiting in New York, and they encouraged me to publish the work along with the story. All of this has been compounded by the fact that it is nearing Easter, and images of rabbits are everywhere. After telling the story to my friends, and expressing my doubts about what I was doing, I was reminded of the old zen story: two monks are walking along a path when they come to a stream, beside which stands a woman who is obviously trying to cross, but unable to do so on her own. the first monk, without thinking, hoists the woman on his back and wades across the river. the second monk follows. after this the two monks walk on. a while later the second monk turns to the first and says “why did you do that? you know that we’re not allowed to touch women…” the first monk replies “put her down. I did an hour ago”.
So I suppose this piece is my way of putting the rabbit down.
|Jeph Jerman | Night Insects
I have a microphone buried in the leaf litter outside my kitchen door, which is attached to a small battery-powered amp inside my kitchen. Turning on the amp usually brings forth a hissy, distorted version of the sounds happening outside the house. On this evening i was surprised to hear rustling and crackling sounds very close to the mic. Most probably roaches moving around in the leaves.
|Jez riley French – Between gestures
one . between kinetics (live sections from performance at sharmanka)
two . spaces between others (between scores, concert room at wandelweiser event)
three . between window and table (live sections from performance at 12 / 2)
four . between still morning and a long picnic (recording of room at 12 / 2)
five . between agedashi tofu, udon and central (recordings in restaurant and station)field recordings, zither, salt, glass lenses, lx-1 camera, paper, contact microphones, table, fingers, shells.
|Jez riley French & Neil Davidson
‘Sunday afternoon, 29th March, 2009 – Neil’s flat in Glasgow, in the kitchen with the window open: here is a recording, very much a location recording, of myself & Neil Davidson playing one of my photographic scores. These pieces begin with a very wide field of interpretation available to the performers & in this case the informal & sociable nature of the session had a significant influence on the work (positive). Neil plays acoustic flat wound guitar with preparations & I play field recordings, zither & paper. Glasgow contributes wind rattling the window & other sounds coming in through it’.
|Jez riley French – Recorded Clear Input Improvisation
This is one of my earlier pieces made using what I called clear input methods – ie. no ‘instruments’ were involved in the conventional sense – just a feedback loop created by plugging the output to the input on a guitar effects pedal in this case. A version of this track was previously released on ‘Brzeska – volume one’ though that version was the later transfer.
|Jez riley French – live at Spike Island
This is a short extract from my solo performance at Spike Island gallery in January 2008. The piece was created around site-specific field recordings – the aural architecture of the building; also some elements from the nearby river. These, along with zithers and amp; small objects were then used in an intuitive composition for the evening show.
|Joda Clement & Tomasz Krakowiak – No one is there
Joda Clément – MS20 Synthesiser, Field Recordings
Tomasz Krakowiak – Percussion
Recorded at live at Somewhere There, Toronto, January 3rd 2010.
|Joel Stern – Mead Google
An assemblage in the style of my recent Naturestrip album (objects masks props) stitching together fragments of…
– A free improvisation session with Brisbane electro-acoustic guru Lloyd Barrett using percussion, bells, mbira, trumpet and handmade string instruments.
– Fuzzy radio broadcasts recorded outdoors during a 2006 trip to Ethiopia.
– Goatskin banjo pluckings from that same trip.
Influences: Robert Klippel, Mead, heat, Fernando Arrabal.
|John Grzinich, Yannick Dauby, Maksims Shentelevs – revenant: podra
Live unedited recorded made on the evening of June 13th, 2007 in southeastern Estonia. It was mid-June and the white nights of the north were in full swing. We set out looking for a location to explore and ended up at a favorite place of mine, the ruins of an old soviet collective farm in a place I call Põdra (as is written on a nearby bus stop). The ruins are in a high state of decay due to the poor quality of the construction materials used. It is not clear if this facility was ever actually used. Next to the ruins is a working electrical sub-station scattered with debris. We set up in an empty room attaching contact mics to found objects and using battery powered speakers to amplify small sounds and genreate feedback. Some pices of metal were bowed and played acoustically. In the background the sounds of the surrounding environment are apparent, particularly the repetitive call of Crex Crex or “Corn Crake”, a bird that sounds like a deep cricket. “revenant” is an ongoing project with open membership that focuses on site-specific acoustic actions, or activiated environments. Each action is a document of a specific moment in time in a specific location.
|John P. Hastings – A Sound Map of the United States
I recently completed a move from Los Angeles, CA to Brooklyn, NY. Having the luxury of time (18 days), I was able to take a fairly esoteric route that yielded great opportunities for field recording. The 14 separate sites were edited into one 45-minute aural journey. I believe I was able to capture a fairly wide breadth of the U.S.A. (and Canada, though only Toronto) but this recording only scrapes the tiniest of surfaces. Below is a list of the locations and times of day:00:00 – 03:47 Hollywood, Los Angeles, CA 1200
03:36 – 08:33 Stratosphere Hotel & Casino, Las Vegas, NV 0900
06:48 – 11:30 Jacob Lake campground, AZ 0800
10:21 – 14:30 Four Corners National Monument (borders of Utah, Arizona, New Mexico & Colorado) 1645
13:06 – 16:23 Box Cañon Falls, Ouray, CO 1000
16:15 – 19:43 Border of Wyoming and Nebraska 1330
19:38 – 22:55 Oglala National Grasslands, NE 1717
22:47 – 25:13 Walker Art Center, Minneapolis, MN 1420
24:25 – 25:29 Dan Flavin installation at Walker Art Center 1429
25:19 – 27:53 Kettle Moraine Park (northern section), WI 0848
27:42 – 31:37 Lake Huron, Straits State Park, MI 2245
31:37 – 36:24 Lafayette Park, Detroit, MI 1241
33:33 – 40:46 Tram 510 Toronto, ON 1919
37:10 – 44:30 Fort Greene, Brooklyn, NY 1021.This piece is dedicated to my father, who was with me on this adventure.
|Johnny Chang and d’incise
Johnny Chang: viola, pre-recorded background (also featuring Derek Shirley, double bass). d’incise: melodica, objects, pre-recorded background. Recorded in Berlin, November 2013.
|Joseph Clayton Mills | Agnosia
Instrumentation: Instructograph morse code machine, Acousticon carbon microphone hearing aid, tuning forks, antique wheelchair, shortwave radio, phonograph horn, feedback.
The devices used in this piece were originally intended to provide technological supplementation to the weaknesses and shortcomings of the human body (whether auditory, locomotive, or linguistic) but are now themselves antiquated and obsolete. As their practical utility has eroded, however, they have come alive in other ways; they remain marked by their particular history, carrying ghost traces of past owners and the material residue of years of use and disuse. Putting these objects to aesthetic rather than utilitarian purposes hopefully allows those qualities to emerge more fully.Recorded 31 August 2008 in Chicago. Mixed 7 September 2008.
|Julia Holter – A Gold Thunder
hey, it’s very drowsy here / poor mahogany rose / amid rose’s hopelessness, a gold thunder / poor mahogany, oh, / it’s lucky not / having such luck
“The text is a phonetic translation into English of the sounds of the words of some Yugoslavian epic poems, but only so far as I could guess based on writing. I don’t think my song left much hint of any other language besides English, but maybe. Mainly I just did it to make the song, and was inspired by the idea of these Yugoslavian performers who would play for all nightlong for the bar crowd, improvising stories with their instrument on their laps. This song is a one-track live recording of me singing and playing ukelele and casio simultaneously, both on my lap.”
|Julien Skrobek – Lipno
Dorota Kancuccy–bass, Krzystof Safarz–tone generator, Julien Skrobek–guitar, Julek Gruda–percussions. This is an excerpt from a recording made at the Halle Saint-Pierre in Paris, on July the 21st 2008. The idea was to play a jazz song (‘It Don’t Mean A Thing’, chosen because our piece sure ‘ain’t got that swing’) in the most pointillistic way possible with the atmosphere of the room as a guest.
Kelly Jane Jones – Synthesised Land from Dimension 11|
Kelly Jayne Jones is a Manchester based artist making work that combines performance, installation and sound. She is interested in creating a multi-sensory experience that creates possible conditions for communication and exchange. Creating contemporary zones bordering science and quantum fictions. Her work traverses the emotions of desire and anxiety, the comfortable and uncomfortable edges of our inner spaces and social co-existence. She is interested in presence and performance as a site for potential transformation; interpersonally and communally. She has has been commissioned for works with various projects at dOCUMENTA13, Tate Modern, ICA London and CCA Glasgow, Trieze Gallery Paris, Borealis Festival & Kunsthalle Bergen Norway, Tectonics contemporary music festival, Hangar Bicocca gallery Milan and the Huddersfield contemporary music festival (hcmf//) and Sheffield Site Gallery. She performed recently with Claudia Molitor and Tullis Rennie at hcmf//2018, and a collaboration with Haris Epaminonda at Venice Biennale 2019.
Kyle Bruckmann & Timothy Daisy
|Lawrence Dunn – Farewell to a piano
The last recording made on a piano I have used for around 3 years.
|Lawrence English – Wind for the Trees
This piece was recorded just recently on a trip to Stradbroke Island with Japanese musician KK Null. It’s one of a number of experiments to record the motion of objects in wind. Using a hydrophone to capture these sounds, allows the documentation of a lot of very low frequency sound patterns that are entirely inaudible, but remarkably powerful nonetheless.
|Lawrence Williams – Construction for any instrument(s)
The dialogue with instrument as object has lead me to reflect on the concrete relation of musician and instrument, on how movement and sound production are related and entwined, and on how the organisation of sound (composition) is intrinsically linked to action.The audio is the first realisation for clarinet solo, recorded in 2011 at the time of writing. It is made up of four movements or parts (1, 2, 2′, 3) relating to different stages of the piece.Construction proposes to the performer to engage in a physical analysis of the instrument through deconstruction and its reconstitution during and parallel to a musical activity. For many musicians the construction of the instrument is essentially a daily activity before playing. This ritual or chore is in this case interceded by “playing”. By the time the instrument is constructed, the piece is over – or not; the score is divided by parentheses, one of the intentions could be to suggest only possible courses of action or situations.As the score tries to interrogate the relation of musician and instrument, this is the first of a series of realisations to be made available on Compost and Height, each made by a different musician with a different instrumental discipline.1 / 2 / 2′ / 3
|Liquid Friction Assemblage – 1/3
Chris Videll: percussion, objects, effects, Keith Sinzinger: keyboard, electronics, Fender bass, brass objects, Gary Rouzer: amplified objects, prepared electric bass, Daniel Barbiero: double bass.
|Luca Forcucci – Meta
“The sound of a church bell in Berlin defines an environment. The sound progresses and vibrates through chosen objects—sculpture, water, buildings—until it reaches its final form at the Berliner Festspiele. It absorbs the sonic properties of the objects through which it passes and ultimately contains the sonic information of the environment. The process of gradually forming an artwork relates to the idea of exquisite corpse from the Surrealists, but here the people playing the game are urban objects, sculpture, water, etc., that add their sonic properties. In William Rubin’s words in Dada & Surrealist Art, ‘Among Surrealist techniques exploiting the mystique of accident was a kind of collective collage of words or images called the cadavre exquis (exquisite corpse). Based on an old parlour game, it was played by several people, each of whom would write a phrase on a sheet of paper, fold the paper to conceal part of it, and pass it on to the next player for his contribution.”
|Luca Forcucci – Unplugged impression
As stated by Félix Guattari in ʼLes Trois Ecologiesʼ, a new approach of our relationships seems necessary: ʻAn ethico – political articulation, that I call ecosophy, between the three ecological registers, that of the environment, that of the social relationships and that of the human subjectivityʼ (Guattari, 1989).
Unplugged Impression proposes to describe this thematic by a listening of the natural field, the full immersion in an unknown environment. Here, the social relationships are those from the fauna. A deep listening of the environment of the forest activates the human subjectivity.
|Loris Live in Hamburg
Recorded at the Blurred Edges Festival 2010. Thanks to Gregory Büttner, Birgit Ulher, and Michael Maierhof. Loris are Patrick Farmer, Sarah Hughes and Daniel Jones.
|Maile Colbert | Fall Leave Tumble Song
After centuries of cultivation / The beauty of this land / still bites and stings / and retires to brownish golden last sighs… / I clutched so not to tumble back / I clutched in deep rooted attempt / to take rootThe base of the song is a recording of a city park in Tehran at midnight, recorded by Vahid Sadjadi. Using Akira Rabelais’s Argeïphontes Lyre program it is mutated, meshed, mixed with a recording I made of the Magnetosphere in Joshua Tree Desert at dawn…the dawn chorus. The rest was shaped and molded to follow and play with the lament of the children’s stretched swings and calls and midnight passes and they grow old.
Matt Hannafin – Cradle Tones
|Manu Holterbach | Belladonna Borealis
A strange water ritual operated by Belladonna, Jos and Ninke’s black dog in the brook of Geulle in the Netherlands. Three plastic bottles played by Sophie Durand, Michael Northam et Manu Holterbach, Aurora Borealis VLF frequencies by Stephen P.McGreevy, enharmonic glasses played by Orbes, “Tu-Yos” played by Jean-François Laporte and Martin Ouellet. In june 2002, I spent 15 days residency at Ninke and Jos Kamp house in the forest of Geulle near Maastricht in the Netherlands. I was invited there by Pierre Berthet, curator this year of Stichting Intro’s third Machomet Festival, to realize an outdoor sound installation in Jos and Ninke’s patio, as much as the first concert of my enharmonic glasses with my wife Sophie Durand. This place was surrounded by a beautiful forest; birds, insects, wind in the trees and brooks were the omnipresent background sounds. I should add that I was by the time very obsessed by Stephen P.McGreevy’s VLF recordings of aurora borealis… These days were a quiet flow, positioned by the setting up of my low-speakers installation, the rehearsals of my fellow composer Jean-François Laporte and his pal Martin Ouellet, Pierre Berthet was also working around with Jos Kamp small ensemble, and I was also spending a lot of time drifting in the wood with Jos and Ninke’s dog Belladonna… This big black dog was constantly leading the walk toward one of the brooks flowing around the house, and there, could spend hours doing something that looked very much like a strange ritual : she would take a big stone in her jaws to move it from one place to another, once on the top of dead branches carried by the stream, then inside the stream, then among other stones, everytime with a pause while she would observe the stone, barking this very musical way, almost singing, growling and biting it as if she was expecting something to happen…! It wasn’t an old dog, but Belladonna was doing this so often that her canine teeth were no longer pointed but flat ! I’ve spent long moments just observing her, fascinated by this strange and mythical behaviour… “Belladonna Borealis” summerizes some of the sounds i’ve used in my low-speakers installations, the field-recordings of the rehearsals and Belladona’s ritual, and is the synthesis I’ve composed in 2006 in my studio in Lyon of this beautiful mesmerizing 15 days… “Belladonna Borealis” is the second piece from a collection of eight synthesis of the sound-installions i’ve done between 1997 and 2004 called “Archives Synthétiques”.
|Marko Karlovčec & Lawrence Williams: 5th July 2011 (Radio Student)
Marko Karlovčec & Lawrence Williams- alto saxophones
Recorded: 05.07.2011 in Radio Študent by Samo Pavlica- Linč.
|Mark Peter Wright – Mal De Mer
Mal de mer is a soundscape composition that consists of field recordings from the North East coast of England; Staithes, Sandsend, Robin Hoods Bay and Burniston.
Although specific in location and recording provenance, Mal de mer alludes to sound, and more specifically, an individual’s ability to listen beyond contextual site specifics. Here the listener is not necessarily searching for markers of a given environment, but opening the ear to an immersive and engaging experience. The intention is not to replicate place, but encourage a deep shift in perception and listening. Mal de mer was first exhibited at the Manchester Victorian Baths during the FutureSonic07 Festival. All recordings made on location during 2006. With warm thanks to Patrick and Sarah. *Headphones recommended.
|Martin Küchen & Peter Šuklar (Radio Student)
Martin Küchen – baritone & alto saxophone. Peter Šüklar – percussion, objects.
Recorded on 17th of October 2010 in studio Radio Študent. Recorded by Samo Pavlica- Linč.
|Martin Küchen – Free fire zone
Solo on baritone saxophone, pocket radio, electric toothbrush – no overdubs. Originally recorded for the Homo Sacer album.
|Martin Taxt – Various Improvisations
I recorded these tracks at my rehearsal studio and also in my livingroom. All tracks are recorded with an Edirol, and I only use the tubes from my tuba and other horns in addition to my mouthpiece.
1 / 2 / 3
|Martijn Tellinga – ‘Truth, Exercise for a Listener’
In a broad sense the piece is an attempt to create a performance situation that instigates shifts within the sound space we inhabit. Accordingly, it highlights listening as a process of (changing) perspective and forces such shifts with all listeners involved. Performers are instructed to actively engage with and -somehow methodically- excite, measure, interpret and derive cues from the acoustics and ambience of the different sections of a performance site. A second part of the catalogue prescribes ways of coordinating one’s own playing following a possible second performer -regarded as part of the ambience of the site-. A third to listen inwards, memorise the course of one’s own actions and progress following a set of crude algorithms. The fourth part could be considered a tuning exercise where, in the case of multiple performers, these are instructed to gradually move towards a unison coming from arbitrary points.A public performance of the exercise can not be announced beforehand and when being recorded, this can only happen with a handheld device. The engineer in this case is regarded a performer, equally inquisitive and documenting the space(s) that he/she moves through.
Sam Pettigrew – double bass, Rishin Singh – trombone, Jon Watts – handheld recorder. Recorded at Now Series #6 18/08/2012, Glebe Church, Sydney Australia.
|Martijn Tellinga: Konzert Minimal & DNK Ensemble
Dear visitor, you might encounter a space void of performers and sound, you might encounter a space with only asingle musician, you might encounter many of the 9 that participate. The different possible states ofthis piece each ask for your attention in their own specific way. I’d like to suggest to you to takeyour time for the situation that you encounter after entering the gallery. All, also the still ones, arepart of the work, equally important and about to change. Slow down and sit down. Listen and look.
February 16-20, Monday to Friday 12:00 – 18:00.
5 consecutive days, 6 hours daily, 9 players enter the space for one hour (unannounced & uncoordinated), audience comes and goes. Over the course of 5 days and within a timeslot of 6 hours, 9 musicians freely visit the gallery spaceon a daily basis. They do so without informing each other. Playing positions have been fixed and following their arrival each musician plays a one hour part from the same position every day. With the permutation of the ensemble on a particular day left to chance, the piece displays a serial process of dismantling and re-integration of its parts. More than being a work of long duration, ‘during, lasting..’ is comprised of reconfigured time.
Accordingly, it can take the shape of a silenced space, anenvironment of no or few sounds or activity, of a compositional space enveloped by progressing tones and including a multitude of instruments, or of one of the many transitionary stages inbetween. Score parts describe simple patterns of sound and silence; sustained distinguishable tones only, one by one or in pairs, repeated to form units and generally quiet. Between tones, a long or even longer rest. No intended rhythmical correlation between parts has to exist, they are to overlap freely, ornot. The number of musicians present in the space at a certain moment sets the interaction betweentheir parts, the daily assemblage of the ensemble over time the unfolding of a form.
Jason Alder – bass clarinet, Seamus Cater – duet concertina, Anne La Berge – flute. Hannes Lingens – accordion. Giacomo Lepri – clarinet. Koen Nutters – double bass, Jacob Plooij – violin, Rishin Singh – trombone, Semay Wu – cello.
|Matt Davis | Sing
A track from his solo album Mute Correspondence, released in 2001.
|Michael Northam – Neti Neti
This piece, like much of my work, has little emphasis on conceptual structures, nor any concrete reference to sources. The intention, as always, has been to maintain and keep a highly detailed non-referential sonic mass afloat. Hopefully removing the desire from the listener to attempt to name what they are listening to. Therefore I won’t give any further reference other than it features elements from a particular rainy winter during my residency at ‘Adishakti’ in Vazhakulam near Pondicherry, South India 2007-08 and the obvious playing of shakuhachi during a residency this spring at ‘intro in situ’ in Maastricht. The title is taken from the Brhadaranyaka Upanishad, where a teacher is questioned by his students to describe ‘brahman’ (i.e. the background/source of all that exists). He responds to all questions by saying that brahman is not this, not that (neti, neti)—thereby slowly dislodging habits of verbal or mental conceptualization. This was a key tactic that was employed in the Indian philosophy of ‘jhana yoga’ (knowledge yoga) which is etymologically connected to chan buddhism which subsequently became zen buddhism. My technique of non-referential sound ‘composting’ is and has been a humble attempt to avoid overtly ‘mental’ structures, intending rather to take the listener to an acousmatic state within which they are suspended for a while…
|Michael Pisaro | Joseph Clayton Mills – fields have ears (4) video
In November of 2009 Compost and Height were asked by Matt Davies to curate a night at the Cube Cinema in Bristol. The last performance of the night was of Michael Pisaro’s work – Fields Have Ears (4). Joseph Clayton Mills was asked to create a video to work alongside the realisation, specially made for the score.
|Michael T. Bullock – Banjo and Feedback
These two recordings were realized at STEIM in Amsterdam as part of my residency there in June 2009. I was listening to a lot of Alasdair Roberts and that manifested, I think, in the form of clear, ringing plucked strings. On that same journey, in Germany, I encountered this deer who was calm and friendly with anyone who had dried corn.
A Swim to the Gateway / A Turn of the Pike (for Alasdair Roberts)
|Michael Tanner – The Piano
“The piano looks up to me as if I am an older brother. ‘why?’ I would ask. But the piano just gives me a baleful look, eager to please with a grin full of yellowing ivory. I hear him inhaling in the night time when I’m trying to sleep, inviting cat hair to dance a tune across his entrails and sew his proud hammers shut.
‘I’m muted’ he told me this morning over coffee. ‘my belly is wound up tight with dust-bunnies’ – meaning I (alice-like) would have to chase them down ornately carved holes, cheap red scissors in hand. Inside my brothers’ belly was like a gloomy porch. I wandered around and brushed the spiderweb of grey follicles which covered his wrought-iron ribs…web upon web, mesh upon mesh. Beneath my fingers I felt the grain of his timbers and pondered an appropriate cutting pattern. All the while he could be heard above me tapping impatiently in f #. ‘I have an awkward touch’ I reasoned ‘you know this’.
Eventually the scissors eased through his worries like snowflakes, my fingers brushing the taught strings as I went. “ahhhhh” – he sighed a deep serene hum from his widening diaphragm, as the net around his lungs popped apart. I reassured him as best I could before playing a long crude B-major – fingers held in position, we felt the vibration through both our chest bones and gradually deaden… Silently I closed his lid, turned the key and placed it back on the string round my neck.”
Bridegroom / Sing the reverberate hills
|Mike Hansen – She is Asleep
Taken from my ongoing project “The Music For John Cage”, which began about four years ago as both homage and an experiment that relates Cage’s musical formality to the instant compositions created though improvisation. As I started to move away from what I saw as improvised jazz in my own approach to music creation, I found myself delving, head first, into electro acoustic performing. I have found Cage’s use of the I-chi to control the play of his music a parallel to that of electro acoustic improvisation, EAI.
I wanted to escape the role that the turntable or, in my case, a vintage record player has begun to take in contemporary music making. I found by re-interpreting 20th century new music, through both graphic scores and my own affectual feeling derived from recorded performances of the compositions, has allowed the record player to be used in a way that subverts its intention. I found Cage to be the perfect fodder for this notion.
In my re-interpretations of She is Asleep parts 1 &2, I use found aspects of the recordings of Cage’s rendition. I have taken these appropriated samples and processed them as acoustically created sounds that make up the rest of the piece. This work evolves around layers of simple Lo-Fi processing. Sometimes the original source material is evident, opening flaunted, like some of the vocalizing heard in Cage’s version of She is Asleep, others are transported into realms that have no mirrored reflection of it’s source. The record player is equipped with contact microphones that allow for me to generate sounds from the player itself. The platter can be scene as a sounding board, where objects can be dropped, placed, dragged, plucked and then processed. The same can be said for the motors, which are amplified and then processed.
Cage, for me, has a great relevance in the construction of 21st century new music, especially in the EAI movement where tonality has been dismissed. Invented sound and chance has become a paramount reality in my music. I see my work occupying a sturdy relationship to Cagean theory.1 / 2
|Mike Hurley and Tony Marsh Live recording at the Invention Convention, Birmingham.|
|Nate Wooley – The Almond (excerpt)
“A curious variant on the long history of the kernel, the pulp and the almond. Here the kernel plays the part of a shell containing the almond; the kernel is outside and the almond inside. The almond (the new principle) finally bursts the old kernel which no longer suits it (it was the kernel of the old almond); it wants a kernel of its own….”-Louis Althusser from “For Marx”
This is an excerpt of a longer piece for trumpet. It is dedicated to Noemi Vuletic, Owen Eisenstadt, Chelsea Lopez, and Zosia Sinton. Four babies that have recently inherited me as their crazy “uncle” that will one day bore them with stories about James K. Polk for no apparent reason. As our generation now becomes mired in the muck of our own histories, opinions and aesthetics, these children now bear the burden of creating something truly “new”, of “bursting the old kernel”, and I wish them the very best of luck. The piece is made only of trumpet tones, no extended technique, no processing. If you can listen to it very loudly or with headphones (or both) I think it is much nicer.
Having lived in the same house for nearly ten years I can easily place the sounds that keep returning each year. Unlike the swifts that scream in around early May the wood-chippers that frequent the woods around my house tend to run periodically all year round. They come to greatest prominence however in early spring as the mulching of the previous season’s Christmas trees is embarked upon for the good of the reclaimed gardens in the surrounding area. These recordings were made with a microphone pointing outside while I played along in the room with the sound of the wood-chippers chewing in the window. The balance favours the guitar over environmental sounds. Now I think I would have liked to struggle to hear the difference between ‘parts’, to have found my playing in a moment of aporetic levelling. But I must have been trying too hard. There are two pieces, one for each hand as my grandmother used to say.Woads in no one / Woads in no none
|Sarah Hennies – Psalms
“Psalms” was inspired by two pieces: a vibraphone solo I composed in 2001 as a memorial for Herbert Brün wherein random changes in resonance occur via consistency in striking location, and Alvin Lucier’s “Silver Streetcar for the Orchestra” (which I first performed in April 2009) wherein changes in timbre and resonance occur via variation in striking location, dampening, and rate of attack. With the three “Psalms” I applied these playing methods to snare drum and woodblock, and also explored the vibraphone in much greater detail.
The “Psalms” are compositions that emerged from repeat performances where structure, duration, and form were slowly determined over time rather than the usual method of composing first and performing after. The “Psalms” along with “Silver Streetcar” and the untitled vibraphone piece from 2001 have now been recorded and will eventually be released as an album. This performance at the Avant Garden in Houston is an early version of the “Psalms,” performed here as a single, continuous listening experience.
The live recording is a somewhat inaccurate representation of the music as it fails to pick up the wildly varied and alien sounds of the echoes and resonance in the room (for the studio recordings James Talambas mic’d both the instruments and various points of the space) but I think is still worth listening to.
The pieces on this recording are:
1. Psalm One for vibraphone
2. Psalm Two for snare drum
3. Psalm Three for woodblock
4. Silver Streetcar for the Orchestra (Alvin Lucier)
5. untitled (1918-2000)Psalms
|Nikos Veliotis | Mugs on Speed
9 tea mugs were put on a wide piece of marble, fed amphetamines, and recorded while dancing.
|Pali Meursault | Sur Place 3
Site-specific composition for cello, recorded during the night of the 4th of February, 2007, in the concrete basement of the future biggest swedish furniture store in Europe. Mixed & mastered in La F* de B* studio, Grenoble – France, 2007 – 2008. Thanks to Ici-Même.
|Pascal Nichols | Heavy Mental
Some heavy drones and patterns that I played using a claw bell/some chopped down cymbals with handles/a bowl with a hole/a strapped up wok cleaner/a pitch pipe/a rototom frame/a tom/rosin/concentration/peace.
|Patrick Farmer – gwenynen fel | y drenewydd
“Mantis was carried over the tumult of the dark and turbulent waters by a bee. The bee, however, became wearier and colder as he searched for solid ground, and Mantis felt heavier and heavier. He flew slower and sank down towards the water. At last, while floating on the water, the bee saw a great white flower, half-open, awaiting the sun’s first rays. He laid Mantis in the heart of the flower and planted within him the seed of the first human being. Then the bee died. But as the sun rose and warmed the flower, Mantis awoke, and there, from the seed left by the bee, the first Bushman was born” – San people creation story.
Positioned at different points, mostly one hive at a time, between four hives out of ten in this particular apiary. What we are hearing I think boils down to four things, although if one wished, the list could go on for miles.
The physical material that the microphones “are in touch” with, in this case wood, and on track 05 a ceramic stopper.
The position on the build in relation to the activity inside the hive at any one time, which is densely interconnected to the atmosphere of the air. During this recording the air was charged with static, making the bees more aggressive than usual, the insects sensing the infrasonic shifts coupled together with the barometric pressure, cuasing them fly to the safety of their particular hive.
The proximity of the microphones in relation to actual physical contact between insect and transducer, this contact is usually the bees forewings, and perhaps the tarsus if they land on the microphone
Whilst I do not deny there there are many factors indwelling to my own particular methodologies throughout these recordings, I feel that due to the minimal editing and interference**, these pieces in their multiplicity represent perhaps a truer ear within the soundworld of these wonderful insects (an appendage that is almost always overlooked within reference to behaviour and other factors studied) than one that is chopped, rearranged, stitched, and processed. A more anthropic auditory document made by myself of honey bees has been released by the organised music from thessaloniki label.
**The placement of microphones in recording situations like this I have long felt to be more important than the processing and assemblage that inevitably ensues. I often spend much longer just sitting and thinking about where to attach them than I do anything else.
Perhaps these recordings fail in light of the thoughts presented here. If that is the case I would simply like to state that the thoughts and joy that these various recording processes have presented to me are enough to keep me smiling and listening , in awe of such phenomena and the myriad elements unknown to us, long may it stay that way.
01. Inside hive no 1 from top entrance
02. Inside hive no 3 from top entrance
03. Top ledge of hive no 3 above small entrance
04. Inside small entrance of hive no 4
05. On ceramic stopper of hive no 1
06. Top entrances of hive nos 3 and 4
07. Top right of hive no 2
08. Wood stopper of hive no 4
|Patrick Farmer | Aeolian Trees
Three recordings made by Patrick Farmer of tree vibration in the wind. Recorded in Scotland and Hertfordshire between July 2007 and February 2008.
1) Gorse Bush. Recorded in Fir Wood, Potters Bar
2) Oak tree. Recorded in Fir Wood, Potters Bar
3) Pine Tree. Recorded in Moorvich, Scotland
|Patrick Farmer | Howls
A contact mic recording of a doubled up fence
|Paul Vogel and Roy Caroll – Snowlady and Adrian sleep together
The Snowlady story is a long one . I am a vegan educator and have friends ( Jacek and Aga) who rescue cats. Snowlady is one such. She was rescued in Dublin and was unhappy with the other cats at the sanctuary but made friends with Adrian who moved to Brno in the Czech Republic shortly afterwards. So last summer Jacek and I drove her across Europe to Brno. A long journey for a cat. She was not very comfortable spending the journey hiding in the back of the car and just as we got to the Czech border we stopped to sleep in the car. We awoke to find Snowlady purring loudly and looking wide eyed out of the window at a forest. She had never seen a forest before. I think she at that moment realised the possibilities for adventure life has to offer and for the first time I experienced her as truly alive. I’ll never forget it. It was one of the most inspiring things I’ve ever seen and heard. We drove on to Brno and Adrian’s apartment. We were all exhausted and went to sleep on the floor. Jacek and I on the floor, Adrian on the bed and snowlady underneath. I awoke to find her exploring the room and then going back to sleep, so that’s it Snowlady and Adrian were asleep together. The music was was made by me recording Clarinet in Dublin and sending it to Roy in Berlin to process. We had looked for an Irish arts council grant to perform at the i and e festival but did not get it so we had time no for rehersal and the performance at the festival could have been better. Anyway there are several more tracks which I see as relating to Snowlady’s journey but this one is the final piece and the most contemplative.
|Philip Julian | Artifact Number 3
Improvised and recorded in London on Sunday 24th August 2008 by Philip Julian
Objects/surfaces used in this recording included alimunum foil, steel piping, sandpaper, cardboard, wood, ceramics, plastic, cotton and rubber.
1. any mass-produced, usually inexpensive object reflecting contemporary society or popular culture.
2. A structure or feature not normally present but visible as a result of an external agent or action,
such as one seen in a microscopic specimen…
3. An artificial product or effect observed in a natural system, especially one introduced by the
technology used in scientific investigation or by experimental error.
|PP Dog | Sherbrooke Business
An E.P. of mistakes, esoteric jokes, bygone rural routine, and salt chuck imagery. Inherently human. Hoof it!
Aviva Endean – clarinets
Richard Kamerman – ASUS Eee PC, broken PCI sound card CT-4780, amplification devices | “After the Great Wing War and Before Returning to the Edge”
|Rick Reed & Colin Andrew Sheffield – Live in Austin. Excerpt from a live improvisation, recorded in concert at the Church of the Friendly Ghost in Austin, Texas – December 13, 2003. Recorded by Colin Andrew Sheffield. Accompanying artwork from a
painting by Rick Reed. Thank you: The Gates Ensemble, Iron Kite, and Numbers On The Mast.
Special thanks to Brandon Cunningham.
|Robert Curgenven – A + E 18 (extract and mix)
Locating a place via the isolation of its characteristics or by presuming it to be a defined and discrete entity, denies such a place much of the continua in which the terrestrial exists. Does a place exist only if it is connected to another place in the mind of an individual, be they from the narrowed epistemological horizons and confines of the modern city or town? Is a place knowable only by what inhabits it? Surely a place cannot exist only in and of itself? What if the Where of that place is not only outside of the person in question’s schema but also connected to other places via means not immediately perceivable or referable to by them? (Simple categorical questions – Is it by a lake, a forest – what is happening there – is there walking, sitting… is there a road two kilometres away, is it flat, is it near a hill? – contextual details remain invisible to minds which seek only the renaming of the known.) How can a purely locative means operate now without this new place being a function of other, known, places? The questions concerning the actualities of the Where of this place need not a suspension (of belief, disbelief, etc), or its relegation to being a non-place, or a place which is Other – but it is in the shadow of the “I” that must know, state, possess, which prevents any articulation of space outside of that which is perceptible in mere phenomenological terms – which relegates “this place”, to being a sonic location of either that which is interesting or is not interesting. When the unknown is categorised as an extension of the known world, its concrete existence is reduced to an abstraction – an isolated point in a noological desert. An empty space, inhabited by clones of the pre-existing and with only a name as signifier. Three continuous recordings of guitar/amp feedback: recorded in afternoons in Berlin, Stralau 68 (July 2008) and Melbourne, Brunswick (November 2007). Field recordings: Winton, musical fence, daytime (November 2006); Kakadu National Park, near Jabiru, daytime (June 2006); Alice Springs, claypans, night (May 2007); Sydney, Royal Botanical Gardens, night (December 2007); wind, Tanami Desert, daytime (November 2006); Alice Springs, Jessie Gap, morning (May 2007). Extract from RF006 limited edition CDR “air+electricity”, originally mixed by hand in Milan, 18-21 August, day and night –remixed for Compost and Height in Milan 9 September, 2008.
|Ryoko Akama – gen / actualisation / score
gen explores a perspective of instrumentation and temporal listening landscapes.
gen is a musical proposal for a sound installation project that Akama and Baars are currently developing. The composition was actualized with bowed shamisens (a Japanese three-string instrument) and a psalmodicon (a Scandinavian one-string instrument).
The shamisen and the psalmodicon are both traditional instruments.They share a kind of minimalism of expression and use numeric systems of notation. The animalistic spirit present in both instruments (leather resonance box and gut string, respectively) contributes to the ritualistic sensibilities of the composition.
Score by Ryoko Akama. Composed by Ryoko Akama, Girilal Baars. Performed by Takashi Tsukakoshi, Girilal Baars, Ryoko Akama. Recorded at the Sendai Community Centre, University of Huddersfield, Private Studios.
|still, under a distant thread, nestling in a porcelain silence
Sally Ann McIntyre & Samuel Rodgers
Recorded 19 October 2015 at SARU, Oxford Brookes University
|Salomé Voegelin – not quite sitting down for six minutes.
Salomé Voegelin is one of four contributors to the new issue of Wolf Notes #4. She has contributed an accompanying sound piece entitled:
|Sejiro Murayama | Tomaz Grom | Pascal Battus (Radio Student)
Seijiro Murayama- percussion; Tomaž Grom- double bass; Pascal Battus- rotating surfaces.
Recorded on 1st of July 2010 in Studio Radio Študent, Ljubljana.
|Seth Cluett – Tracing moving circles (Wolf Notes)
100 circles for the head, a wall-mounted set of drawings and an accompanying headphone-based sound recording, documents the acoustic trace of drawing 100 circles in three different ways: 100 single circles, 50 x 2 circles, and 25 x 4 circles. Glass is a performance work produced as an unprocessed studio recording. The recording documents the sound of circular motions made by moving a piece of glass in each hand against two pieces of glass placed flat on a table. The performance is finished when it is no longer physically possible to continue the action, allowing exhaustion to create variations in an otherwise steady simple sound-producing motion.100 circles for the head – 100 / 50 / 25 | Glass Performance
|Seth Cooke – The Darkness and the Light
Since the start of 2012 I’ve spent hours in car parks across West Yorkshire, recording for bangthebore.org’s Twelve Tapes collaborative composition, described as “Twelve C60 cassette tapes, each containing performances based around the note B, recorded live in enclosed, multi-storey and underground car parks. In performance, any number of these tapes may be played in any combination alongside any number of musicians playing any instrumentation.” For the Twelve Tapes sessions I played a modulated sine wave into the environment in order to fulfill the criteria of the score, using fixed recording equipment. The experience made me want to return to some of those locations with a more flexible, mobile set-up, so that I could capture some of the nuances I was hearing, as well as a sense of the geography of each space. Twelve Tapes is, in part, a piece about how car parks feel like manifestations of one single ur-place, with the twelve overlapping recordings reconstructing a sense of that gestalt or superposition; whereas The Darkness and the Light presents a more intimate and thorough examination of two specific locations which, despite superficial similarities, are audibly distinct.
The Light car park consists of three large concrete-walled levels beneath Leeds city centre, under the shopping and leisure centre of the same name. The complex contains a swimming pool, cinema, restaurants, shops and gymnasium, and while I have no idea which – if any – of these feed sounds to the underground levels via the numerous exposed pipes and conduits, the result is a rich variety of sonic micro-environments, linked by a gently shifting drone of unknown provenance. I recorded there just after 7am one Sunday morning and managed to capture the environment without any moving vehicles or people, until security politely asked me to stop (which I did without argument). If you listen closely to the closing seconds of the recording you can hear the guard approaching.
There’s no good time to record the Dark Arches. It’s the local name for the stretch of brick-walled tunnels beneath Leeds train station, between Hans Peter Kuhn’s permanent sound and light installation (fortuitously named Light Neville Street), past the three arches through which flows the River Aire, and out to the car park at Granary Wharf. But the inverse is also true: all times are equally good. Positioned near a main road, nightclubs, bars and residential areas, and containing restaurants and a car park, this particular area is a common through-route with a dubious reputation. There are people coming and going at all times of day and night; record during the day and you’ll hear the rumble of trains overhead, cars and the bustle of people going about their business; record during the night and you’ll capture people on their nights out. My tactic was to record at approximately 4am on a rainy Monday morning, which sadly meant that no train sounds were captured. Instead, the recording predominantly captures the sound of the water in the tunnels, whether that’s dripping water making its way through the cracks overhead; the six distinctive flavours of surging river as it makes its way though the three arches on either side of the footbridge; or the ever-present white noise of the Aire’s background roar.
On both occasions I walked a route that was part planned, part spontaneous response to what I heard. Both recordings are presented untreated and in their entirety in order to preserve the manner in which the sounds relate to each other in the context of their environment.
|The Set Ensemble – On the Verge of Night by Samuel Rodgers
Performed by Nomi Epstein, Sarah Hughes, Bruno Guastalla, Dominic Lash, Luke Nickel, Samuel Rogers, and David Stent.
Recorded live at Cafe OTO by Samuel Rodgers, 18 July 2016.
|The Set Ensemble – location composite #1: Portbury Wharf by James Saunders
by James Saunders performed by Dominic Lash, Daniel Bennett, David Stent, Angharad Davies, Bruno Guastalla, Sarah Hughes, Kate Lash.
The location composite series comprises geocaches containing verbal scores. The scores ask the finder to interact with the local environment in an activity which contributes towards the production of a secondary score.
|Simon Whetam | Ko Kradan Hermit Crab
It’s dark on the jungle island of Ko Kradan, off the south west coast of mainland Thailand. I’m scouting the beach for the source of a hooting sound when i hear the rustling, scratching sound you will now also hear. The biggest hermit crab I have ever seen is making it’s way from the beach into the heart of the jungle, and is seemingly unable to do it quietly…
|Simon Whetham – Night of the Owl
A live recording from ‘Night of the Owl’ – A Foundation, Liverpool – Saturday 15th November 2008.
|Steven Flato and Richard Kamerman | 20080705b
Steven Flato – electric guitar | Richard Kamerman – mechanical parts, found objects
Recorded at home on a Saturday afternoon before going to a diner with Kelly.
|The Animist Orchestra | 16.30 for Doug Haire
This recording of the animist orchestra improvising was made in Seattle at the Good Shepherd Centre, in what was originally a Chapel – a large high-ceilinged room with hardwood floors and large windows on two sides. We set up in a semi-circle around Doug’s microphones, as he was recording us for his “sonarchy” radio show. This short improvisation was to be used as filler, since the show is an hour long and we didn’t know exactly how long we’d play for. We actually tried two “takes”, and this is the second one. The loud boom and bang noises are courtesy of Microsoft, who were celebrating the launch of their new operating system. The orchestra this time: Dave Knott, Mike Shannon, Dean Moore, David Stanford, Rob Millis, Carl Leirman, Eric Lanzillotta, Rachael Jackson, Susie Kozawa, Esther Sugai, Jeph Jerman. Recorded by Doug Haire.
|Thomas Tilly | Le Passe Muraille
“Le passe muraille“ is a stereo recording of a highway bridge which marks the limit between the center of the city and the suburbs. The two microphones are placed under the bridge at the junction point with the road.The right channel corresponds to the entry of the vehicles on the bridge and the left channel, the route the vehicles take to quit the center of the city toward the suburbs.
Realized in Poitiers (France) in february 2008, unprocessed field recording.
|Thomas Martin Nutt – Two extended collages
Selected entries from Thomas Martin Nutt’ sketchbooks, reoriented here in two extended collages.1 / 2
|Trevor Simmons – Eleven pages of a sketchbook
A dynamic, tempts most of me to make a display of myself and draw. I eventually forfeited my surroundings, without moving. All of the drawings included, are from sketchbooks and the things described-marks of a calligraphy pen- like constellations. The white space of the page, infinite.
|Vanessa Rossetto & Barry Chabala – Viola and City / Violacity
From Viola City began life as viola improvisations made in response to environmental sounds in recorded in New York City by Vanessa. Barry took that piece and processed it through a program he wrote in ChucK.
|Vanessa Rossetto – Bookpacking 2
I sell books for a “job,” so I pack books every day. This summer I began recording myself working over a period of several weeks. At various times throughout, mostly toward the beginning of the recording period, I wore headphones while working so I was made even more aware of the sounds I was making in the course of my daily activities. Immediately it began to affect the gestures used and the speed with which I was going about my tasks. I began to think more and more about the specific sounds I was making while still being able to maintain a productive work flow. In turn, I began to think about all the sounds I was making whether I was working or not, whether I was recording them or not, and about the rhythm of labor in general.
This piece was edited down from many hours of recordings in Texas in August and September 2010. While it is edited, there are no additions; no parts that were not recorded during the process of working. Some days it rained and some it did not.
|Vanessa Rossetto | For Quiet Room
Begun on January 1, 2008, and completed at the beginning of August. Made using very thickly layered environmental recordings made in one seemingly ‘quiet’ room; no instruments were played. Through the layering, emergent melodies and drones reveal themselves. The idea was to explore the sounds heard in a music room that was idle. headphones are recommended but I have also found the piece works well when played in an active house; the quieter parts blend in with the normal environmental sounds at the location so that the louder parts seem to develop from nowhere and take you by surprise.
|Will Mongomery – Thames Water
The sounds in this piece were recorded with a pair of hydrophones between Festival Pier and Waterloo Bridge on the south bank of the Thames. The sounds include the Thames itself and water running from various outlet pipes set into the embankment. Recorded and edited April-July 2009.
|Yannick Dauby & Yen-Ting Hsu
Tsou* people of Tapangu village, in Alishan mountain area, Taiwan. 15 February 2010. During the ritual for the God of War, there is a moment where one member of each main family should bring some food to Kuba, the collective house of the men. Amongst these foods is ufi (name in Tsou language), prepared from glutinous rice, mubu. After being cooked between leaves with steam, the rice will be crushed in a mortar. The difficulty of this work i not only to project with energy the huge pestel in the big wooden container, but also to lift it up, stuck by the rice transformed into a plastic paste. In the past, women would prepare this nutritious and simple meal, brought by the men to the war or the hunt.
Voyu 正在besia裡敲打米飯，準備Mayasvi需要的年糕。這些米飯在Mayasvi裡扮演要角，一週甚至更久前，當男人爬上爬下修繕Kuba（男子集會所）時，女人正在將米飯製成小米酒、糯米飯、年糕。大團大團的糯米飯(mubu)放置到木桶中，要用木杵大力重複敲打產生黏性，最後集結成塊狀，放到竹簍待涼，便成為祭典間分食眾人的年糕。這並非輕易的工作， 平時打獵爬樹輕而易舉的Voyu氣喘吁吁。但過去這些準備工作全是鄒族女性的工作。
Preparing the sticky rice for Mayasvi
His mouth is full of blood, but we don’t know what appearance he has. He’s terrible and likes noise, he’s Iafafeoi, the God of War. During the night of Mayasvi, the ritual which is dedicated to him, the voices are raising up to the sky where Iafafeoi is observing. Meanwhile, in the sleepy village, a few Moltrecht’s treefrogs (Tioekueku in Tsou language) are gathering and are sharing their calls with the singers.
Treefrogs singing during Mayasvi