0018 survey / 31st May 2012

Emphasis matters. Our occasions vie for this category. Believe it or stab out your own eyes. Elsewhere, underdog eats underdog eats underdog, in fits of datum ad nauseum and he said she said. Blinded or otherwise, what new abundance can we expect? ... arc of &C.? ... or Ought? ... or aegis above? ... or else analyst re. analyst, onward as format or onward as feature Geo_fill viz /sto?'kæst?k/ tschuss / pow? We should never give up. Only love satisfies. We feature in you as you. Direction is, therefore; just as love is, therefore; so much so that as above, so-so below. 110 agree, with 91 pieces of music and 26 short-films. Un-stab your eyes, as follows ...

02_Elements: In spring 2012, I began inviting players whose work I admire to contribute improvised parts towards a long-term project with the working-title of 'Elements'. The intention was that each player contributes in isolation, without any knowledge about the other players taking part. After gathering a workable pool of these parts, I then began composing with these elements - processing, editing and such like - along with adding my own work. This is the second of these pieces, comprised of myself and one other player: 02_Elements_01. Improvisers: Anthony Donovan and Oblivion Substanshall / Composer: Anthony Donovan. (Anthony Donovan, May 2012)

05_Elements: In spring 2012, I began inviting players whose work I admire to contribute improvised parts towards a long-term project with the working-title of 'Elements'. The intention was that each player contributes in isolation, without any knowledge about the other players taking part. After gathering a workable pool of these parts, I then began composing with these elements - processing, editing and such like - along with adding my own work. This is the first of these pieces, comprised of myself and four players: 05_Elements_01. Improvisers: Paulo Chagas, Anthony Donovan, David Fenech, Anton Mobin and Hopek Quirin / Composer: Anthony Donovan. (Anthony Donovan, May 2012)

6 or 7: By Hopek Quirin & Kris Limbach / vocals by V

Adrian Beentjes, David Cunliffe, Anthony Donovan and Hopek Quirin: Live and improvised by Adrian Beentjes (tapehead, coil pickup, circuit bends, field recordings, microcassettes, dc motors), David Cunliffe (electronics, contact mics, vocal emissions), Anthony Donovan (light-synth, prepared zither, electronics, objects) and Hopek Quirin (bass, effects, objects), on the Epsilonia radioshow, on Paris Libertaire, Paris, France, on 19th April 2012 /  recorded by Nicolas Aka Bondage - thanks to him and everyone else at Epsilonia, for their warmth and hospitality / edited from a set lasting 46 minutes and 30 seconds by Anthony Donovan. About Epsilonia ... Each thursday night from 22pm to 00pm Epsilonia explores, clears, decipher diverting, untypical, innovating, surprising territories of music from yesterday and today, from here and there. This show created in 1986 by Jacques Perdereau is broadcasted on Radio Libertaire (89.4 FM / phone : ), Paris and on the internet at: MP3 for ADSL : http://ecoutez.radio-libertaire.org:8080/radiolib.m3u / MP3 for modem : http://ecoutez.radio-libertaire.org:8080/radiolib-modem.m3u / OGG for ADSL : http://ecoutez.radio-libertaire.org:8080/radiolib.ogg.m3u / OGG for modem : http://ecoutez.radio-libertaire.org:8080/radiolib-low.ogg.m3u / http://epsilonia.free.fr/ http://epsilonia-radio.blogspot.co.uk/

Aka-bondage: Song: 'Ectoplasme 404' / Film: 'DANSE DE SAINT GUY 4' / Artist : Aka_bondage / 2012 - www.akabondage.com

Akoustik Timbre Frekuency: Thee Door Is A Jar / Length: 8m16s / Instrumentation: Processed sounds of a door / This is an elektroakoustik remix of a purely akoustik komposition which I created using only thee thee door to my studio/temple/playroom as an instrument. Thee resulting sound study has been re-worked utilising a series of filtering and other processing tekniques to produce this final version presented here. Akoustik Timbre Frekuency mainly fokuses on kreating elektro-akoustik kompositions that are designed for Ritual usage, no matter what path thee praktitioner may follow. These have been labelled as ‘General Ritual Intensifiers’ and are designed to augment thee Gnostik experience. Various Ritual Instruments from around thee world are utilised within these rekordings inkluding Singing Bowls, Horns, Aura Chimes, Rain Stiks, Flutes and Bamboo Perkussion to name a few. Field rekordings are also inkorporated within thee kompositions which kan range from graveyards to nature parks, from sewers to tree tops. These akoustik rekordings are interwoven with synthesised and sampled material to kreate an evokative environment for thee listener to use as they see fit. It is a Sonik Tool... NEW ALBUM, ‘RITUALISTIK KUTTINGS’, OUT NOW ON QUARTIER23! / http://www.quartier23.eu

Alex Charles: After over 10 years of playing under the group name Thee Moths, Alex Botten has finally taken the step of becoming 'solo'. Changing the way he works, bringing his laptop back to the fore, the new music is both simpler in terms of the raw materials used, and more complex based on structure. Live shows include sampling on the fly, and building complex tapestries of sound

Andre Caputo, Noura Sanatian and Noel Taylor: ‘Clere Laude’ / “For Eolus, the god of winde; -- In Trace ther ye shul him finde, And bid him bringe his clarioun, That is ful dyvers of his soun, And hit is cleped Clere Laude” / Geoffrey Chaucer / performed by: Noura Sanatian: Violin, Noel Taylor: Alto Clarinet, Andrea Caputo: Guitar / links: www.myspace.com/nourasanatian / www.noeltaylor.net
/ www.myspace.com/andreacaputo72

Anla Courtis: "Galictis DFHR" (4:12) / recorded in Buenos Aires, Argentina 2012 / www.myspace.com/courtis

anotherAntidote: [...]

Anthony and Substanshall: a mawkish them and us... by turns, or in some way by series, as an inviolate inheritance. our name is barely a republic in its own right, and we are forms of cod hermeneutic, soaking wet, in some hintertland, waiting for email. we are watching our confessions and we cannot get enough. doll hand rings bony bell, or else mall wooden pick with cat head on door. we ird and we can andle tha fink accessory. (one missing bookend, you pickle.) and thee electronic alarm fffffffffffffffffffffffzzzzzzzzz craze out thee batterie BANG BANG BAN GG ... one pair is ever wooden & u don even kno we can list just once before we die, so we are not going to waste it. (anthony & substanshall, may 2012)

Anthony Donovan and Clive Graham: AD: admachine, laptop, electronics, mics / CG: tape-machine, electronics, mic. Edit from a live, improvised performance given at Outsider, The Montague Arms, Peckham, London, England, on 12th August 2011

Anthony Donovan and John Hyatt: Art Speaks 1 (Hole in the Air) / He dreams, for sure! The dreamer is in the pit; the place of the dreaming; the necessary space between the viewer and the viewed. He dwells where light lights the light of light to run in the steps of light indivisibly and to complex common sense; where the message is received before it is sent; where we doze between the question and the answer. Be you satisfied with your plot, Dreamer. Is it not a marvellous gutter; the place of music's black tadpoles swimming; the tear in the audience's eye; the realm of mediation; the hole in the air; the hole in time; the suspension of disbelief; in the gap between art and life?

Anton Mobin: Filmed by Aka_Bondage at Epsilonia radio show on Radio Libertaire Paris

Arcane Waves: Inside The Stringed Box / France / http://soundcloud.com/arcanewaves / My work aims to recreate conceptually-almost-pre-recorded ensembles with technologically-12-tone elements whilst studying certain developments or semi-simultaneous vibrations. If one concept must be grasped, it is this - the graphic notation always recontextualises the styles, and it must do so entirely diversely. I am very much influenced by the idea of integrating tonal passages, particularly whilst combined with a highly meta-ambiguous approach to chords. I was first introduced to the concept of 'randomly-stylistic motif-sonorities' last year, and it has allowed me a greater depth of arts, especially whilst integrating the ultimate transcription. The pursuit of stylistic illusion-non-linearities to suggest the mostly-hyper-random paradigm is a key focus of my symbolic study. When planning my quasi-diverse passages, I often find that composing a somewhat stylistic array of musical materials helps a great deal. (Text generated by : The Contemporary Classical Composer's Bullshit Generator)

ASTMA feat. Anton Nikkila: "DOM" / Composed, played and recorded by Alexei Borisov, Olga Nosova, Anton Nikkila, at The DOM Cultural Center, in Moscow 2009. Sound engineer: Maxim Haikin / Alexei Borisov (Moscow): guitar, effects, Roland TB-303 / Olga Nosova (Moscow/Freiburg): drums, percussion, voice, effects / Anton Nikkila (Helsinki) - guitar, laptop / Bio: ASTMA (Alexei Borisov and Olga Nosova) / Borisov/Nosova duo was formed in Moscow (RF), april 2009. Music components: free improvised, live electronics, electroacoustic, spoken word, tape music, ambient, soundtracks, field recordings, techno, sound art etc. The duo collaborates with different musicians, sound artists, video-artists, dancers and poets from different countries, produces music for silent movies ("The 11th" and "Enthusiasm" by Dziga Vertov), art exhibitions, theatrical and multi-media events and actions + djing. International events and festivals: Spektro Fest (Istanbul, Turkey 2009), Jauna Muzika (Vilnius, Lithuania 2010), Sonic Circuits (Washington DC, USA 2010), Interpretations (NYC, USA 2010), Sonic   Protest (Paris 2011), The Morning Line (Vienna 2011), Moozak fest. (Vienna 2011), The 4th Moscow Biennale (2011), live at Staalplaat record shop in Berlin, concerts in Ljubljana, Amsterdam, Tel Aviv, Hannover, Prague, Riga, Tallinn, Helsinki, Napoli, Dusseldorf, Providence, Richmond and more... Showcases and lectures at Berkley Music Collage (Boston), George Washington University (Washington DC) / Digital-albums (selected): "Istanbul Kebap" (Live at Spektro 2009) (net-album by www.top-40.org) "No No Music" (net-album by www.kroogi.com - 2010), "There will be a McDonald's" (Zeromoon.com), ASTMA "Epsilonia" (http://www.nostressnetlabel.net/NN_Perform004_12_11.html) CD-R releases by Bornos produkt: "Selected works, vol. 1" (2009), "Grundig" (2010), "There will be a McDonald's" (2011), "Live in Richmond" (BUH Records, Peru 2011) CDs: "Elektrokooperativ" (Industrial Culture, UK 2010), ASTMA "Dar-k" (Letmo, Czech republic 2011) ..  www.myspace.com/borisovnosova
www.myspace.com/asstma www.shum.info http://soundcloud.com/alexei-borisov http://soundcloud.com/olganosova www.myspace.com/alexeiborisov www.myspace.com/olganosova http://www.youtube.com/user/kobonan?feature=mhee

Astrometria and Emma Gosnell: http://astrometria.co.uk / A collaboration between Emma Gosnell and Astrometria - a combination of percussion, vocals and electronics

Ayato and Naoki Ishida: dérives  & Seahorse (the latter appeared on Classwar Karaoke 0017 survey) are tracks extracted from the forthcoming album "PHAE?",  the new collaboration of Naoki Ishida & Ayato soon on ORGANIC INDUSTRIES. First release "TRAIL" is available for free on HAK lo fi record  http://archive.org/details/HAK223 / http://ishidanaoki.bandcamp.com/
http://karakuri-pj.tumblr.com/ http://ishidanaoki.net/ http://ayato-sn1984.blogspot.fr/

Bob Blaize, Jeph Jerman and Travis Johnson: Excerpt from the album Sky Bells, released by Avantarchive, 18 March 2012 / Bob Blaize: percussion, synthesizer, flute, mixing; Jeph Jerman: percussion, electronics, prepared guitar; Travis Johnson: digital synthesis and signal processing, field recording, mixing, mastering / Photography & Layout by Theodore Trager / Full album here: http://digital.avantarchive.com/album/sky-bells

Bob Ostertag with Fred Frith, Charles K. Noyes and Bryan Medwed: an edit from the Bob Ostertag album, Getting A Head / With Fred Frith, Charles K. Noyes  and Brian Medwed. An underground classic of tape manipulation from before the days of samplers. Best known for his work with computers, here a young Ostertag plays an instrument consisting of a highly unstable and peculiar recording system, which uses helium balloons to hold up tape loops between three tape recorders made to malfunction in a variety of ways. The record marks one of the first, and to this day one of the only, times that tape manipulation techniques developed by the first generation of electronic composers for use in the studio were adapted for liver performance and improvisation. Ostertag uses this rather sculptural and bizarre contraption to manipulate the brilliant guitar playing of Fred Frith, and the elusive percussion work of Charles K. Noyes. Originally released 21 years ago as an LP, the 1,000-copy run quickly disappeared into the abyss of the collectors item. / "One Side one of Getting A Head, the sounds move in short, almost breathless little impulses, always lively and alert. You know that Frith and Ostertag are listening to each other with strong, even crazed concentration (sometimes with manic glee too), never just fooling around or digging deeper ruts. Side Two is peaceful. The search for new sounds moves much more slowly, evolving in long, supple arcs made of smaller, more weirdly twisted parts; and in between there's enough time between the beginning of one event and the end of the next to enjoy some curiosity about what might be coming next. The high, insistently lyrical final episode is especially lovely". -- Gregory Sandow, Village Voice, January 7, 1981 / "Getting A Head is kissing cousins to Lou Reed's Metal Machine Music. True we have a tape loop here, but don't confuse this with Robert Fripp's small, intelligent, mobile unit. There are a lot more surprises here, and there is a vital interaction between the people running the decks and playing the instruments. Also, sides one and two are radically different, lacking the sameness of FRIPP's work and adding a good deal more 'hazard'. The result is a worthwhile balance of beautiful sounds and sensitive noise". -- OP Magazine, 1981 / "At its most intense, it assumes the proportions of electronic music, yet there are no synthesizer controls in site. Cascades of splintered guitar notes form the basis of a hyperactive and concentrated duet, both Frith and Ostertag drawing from an inexhaustible supply of musical and technical ideas". -- City Limits (London) November 5 

Bonnie MaCAllister: "What the Water Wore" / Bonnie MacAllister / Bonnie MacAllister: vocals, film, effects / (a one second film inspired by the leap second) / What the Water Wore / The weight of our thirst Our children’s fears for no more to drink An alluvial stream, the s that meanders in a valley The power to ignite electric in hydro The intersections of streams The dispersive clays to bake pottery for a village The records of now historic flows, dry and patterned on soil The forked sticks of a divining rod The relics of dry springs Erosion of sheets The transition from turbulent to tranquil flow at critical depths The rising crests of spillways Minerals embedded in loose sediment Silt, clay, sand, gravel from upstream Perforations in wells A jetty shoring the bank Stilts of a levee, manmade on the lake Municipal discharge from sewage Groundwater contaminants The labels non-potable, non-consumptive / Filmed on location on Solomon's Island, MD / bonnie-macallister.blogspot.com / Bonnie MacAllister renders meaning through various media: film, painting, projection, photography, theatre, temporal installation art, and performance. She is a Fulbright-Hays recipient to Ethiopia and shows her work internationally in gallery, museum, and UN sponsored shows. Her most recent publications have been in the Toronto Quarterly, Thirteen Myna Birds, Grasp, and 10,000 Poets for Change/Fierelingue.  She will perform and exhibit at the Sandy Spring Museum in Maryland this June / bonnie-macallister.blogspot.com

Bryan Lewis Saunder and Christopher Fleeger: "The Store" video for the "Near Death Experience" LP on Erratum available at www.erratum.org / music by Christopher Fleeger, vocals by Bryan Lewis Saunders. (note: all of the images presented are of the same stores where the events described took place.)

Buskerdroid feat. Pixyblink: [...]

Cagey House: When I was a kid I had a friend who stuck a bean in his ear. He couldn't get it out, and it stayed there for a couple weeks or so. Eventually his ear got infected, and he got really sick. He ended up in the hospital. For his friends, it was really strange. One the one hand it was funny, because of the bean and the ear. On the other hand is was scary, because of the hospital. We'd be talking about what a nut he was, and how crazy he was, and then somebody would mention the hospital, and that he was in critical condition, and that he might not make it, and we'd all go quiet and look at the ground. Or the sky. It was weird that something so funny could also be creepy. But he did pull through, and when he got back he told us all how wild the whole thing was, and about the powerful drugs they gave him, and how crazy the doctors were, and how the nurses were so cool. And how his parents cried, and how he almost didn't make it. It sounded great, but not so great as to make any of us stick beans in our own ears. A couple weeks later, he came over my house to spend the night, and watch movies, and stay up till dawn. At dinner, my mom made hamburgers and french fries, and as we sat down to eat she set a big bowl of baked beans on the table. My fiend took one look at them and turned white as a ghost. My mom noticed and took the beans away, saying the probably nobody wanted any beans anyway, and she didn't even know why she made them. Later, during a quiet part of the movie, I said, to him, "So you don't like beans anymore, huh?" And he said, "Nope. And they don't like me either." I wasn't really sure what he meant, but I figured it sounded about right, coming as it did from a guy who almost hadn't made it because of a bean. But then he went on. He explained that ever since his experience in the hospital, he'd actually been able to hear stuff that beans said. Every single time he came close to beans they would start talking to him. Sometimes they were nice, and asked how he was, and why he never played with them anymore. Sometime they got mean and said that if he didn't stick one of them someplace real soon they'd do something horrible.  He said, "I can't even stand going to the grocery store. I can hear them mumbling and buzzing inside the cans." For a second I though he was nuts, or brain damaged. But he didn't seem that way. And besides, stranger things had happened. That was something we said all the time back then, anything's possible, stranger things have happened. That night after the movies were over, and we had talked for a while, he fell asleep. It was probably around three, and I was wide awake. And I kept thinking about beans. I couldn't stop. I got up real quiet, and crept down the stairs. I went into the kitchen and opened the fridge. I peeled back the plastic wrap from the bowl of beans we hadn't eaten at dinner and leaned in close. And I heard them. "Hey kid, you seem cool. You wanna play with us? It's fun to play." I pulled the plastic down real quick. I looked around and then lifted it up again. "Listen you little creep, you better do what we say, or we'll take that little-- ." I pulled the plastic wrap down tight and shoved the bowl into the back of the fridge behind some other stuff. My mouth was hanging open like I was some kind of jerk. I didn't know whether to laugh or to freak out entirely. I reached for the refrigerator door, and was closing it when I heard a little whisper, a little "psssst" sound. I came from this piece of left over lasagna that was probably like a week old. I was kind of dried out looking and sitting on a plate with a bit of plastic wrap draped over it. I bent my head towards it, and it said something to me that was so brutally horrible and disgusting that I've never repeated it to another soul. And I won't repeat it now. But I will say that, to this day, I continue to eat--no, to devour--all the lasagna I can, every chance I get. Lasagna knows who's boss

Carlos Groënland: 30 glorieuses" was made with a cheap keyboard, ukulele, scratched vinyl, music box and voices samples. First recorded a winter day of 2009 and re-arranged in may 12th 2012. Carlos was playing in Opahb and Angle Mort in the 90's, and now has solo project or plays with Mx Brckrt, the drummer HC Caget and the band "NED

Carlos Ramirez: project was created with many passages of life in time memory projections embodied in sounds, creating a vision beyond the past to confront the present and be connected to a near future ..... through forgotten sounds

Cave Dwellers: [...]

Chevo Légé: impacts de balles sur la pierre massive et brune... toit de tuiles, recouverts par endroits de végétation humide, signe d'une longue cohabitation de l'œuvre de la main de l'homme avec l'œuvre perpétuellement en cours de la nature... toit d'ardoises, parfaitement gris et mat, immaculé sur toute sa surface sombre... jeune, solide et vigoureux frère de l'autre toit... le vert odorant du gazon fraîchement tondu... le brun de la pierre polie portant les stigmates d'une guerre... le gris et le rouge sombre et chiné de la végétation des toits jumeaux... l'autre gris, celui du ciel instable au-dessus de cette pierre qui semble indéracinable malgré le travail du temps... jeu triangulaire des pigeons... pierre encadrée par deux rumeurs, celle, bruyante, de la grande rue où circulent continuellement les voitures, l'autre, calme et feutrée, de la rue symétriquement opposée qui semble toujours suspendue à ce moment de l'éveil, comme si les yeux lui piquaient encore…

Chris Lynn: New England Lyric- Silent Super 8 film inspired by the New England landscape in October. Library Tea-Audio track / Bio - Chris H. Lynn is a filmmaker, sound artist, educator, and curator. His sound pieces consist of field recordings, minimal compositions, and audio from his films. His digital images and super 8 films capture the subtle rhythms of light, movement, and sound in urban and rural landscapes. His work has been screened in galleries and festivals across the globe. Chris also curated the Experimental Film Program “Urban/Rural Landscapes” for the Utopia Film Festival in Greenbelt, Md and the Takoma Park Experimental film festival in Maryland 2010. To learn more about Chris, visit: framingsounds.wordpress.com/

Coffin Boffin: I should have left it as it was I should have left you where you were I should have listened to foreboding I should have known just what was coming I had a delusion....of an illusion of approximation of what made us of what made it my failing perception I was wrong and once it stung now it grates and i must berate myself for believing, allowing the stealing of intent Allow the regret of now sure knowledge of follied feelings, misplaced meanings,unsure dreamings and mewling admissions; painful addressings And you escape my cloying fallout shroud It's a laing story............ more RD than KD Another mistake............... maybe, dissection of what i thought you and me...............art as therapy? A regretful urge to purge sadistic self help, tough love from the top shelf Bottom drawer psychology to cope with the deal of me and thee! / 'A Laing Story' - More RD Than KD is brought to you by Coffin Boffin and with assistance, inspiration and collaboration from Mr Jack Derbyshire of The Thud Experiment. Many thanks for listening, the half life of unrequited is indeed long :)

Crush!!!: Some Remote, Control / This piece was conceived by Crush!!!, who are Mark Browne, Sonic Pleasure and Ian Smith. Within improvisation the group utilises an array of found and home-made sound making devices combined with more traditional instruments. Sonic Pleasure is famed for her unique crafting of sound from bricks and masonry, reducing much of her instrumentation to dust by the end of a concert with an orange haze clearly visible over the playing area. Some of the bricks will be transported from her home, others will be collected near the venue. She also plays flute. Mark Browne plays piranha and castrato saxophones (sopranino “the small one that bites” and soprano), broken glass, earth, gongs, burnt piano and bones. He wants to give up playing music altogether and find other ways of relating to sound, but the irresistable urge to play has so far been too great. Ian Smith plays brass in an extraordinary and creative manner. For this venture the aim was to exploit the use of recording methods and create music that was not simply a pastiche of the concert performance. The members of the group individually created their contributions (with Sonic P living in Manchester, Ian in London, Mark in Aylesbury this has become a necessary activity). There was a composition outline created, files were traded, plans were changed, objectives rewritten, edits made and edits reverted

Daniel Heikalo: Pentatonic Evening: This composition is an experiment using only one pentatonic scale and its modes as the basis for an electroacoustically treated montage. The guitar parts were semi improvised from a graphic score I created, then edited and assembled. It was all done quite fast and many fragments' location on the timeline are the result of chance. Why mess things up with preconceptions when they happen just fine on their own

Daniel Spicer: Writer. Improviser / Recorded Brighton, UK and Ravenna, Italy 2012. Acoustic guitar by Tom Roberts. From forthcoming CD-R, YLVMLVY, on the Slightly Off Kilter label

Daniel Thompson and Matt Chilton: The Empty Wooden Chair / Matt Chilton (aka Astromertia - http://astrometria.co.uk) and Daniel Thompson started playing and performing together in the spring of 2011. They decided to explore the realms of electro-acoustic music as a duo with Thompson playing acoustic guitar and occasional percussion and Chilton using computer based realtime processing of the acoustic sounds using PureData. This piece was recorded live in Chilton's home studio in May 2012. Their music is free improvisation and they let the music take them where it wants to go

David Fenech: Moonlight Serenade is a cover of Ludwig Van Beethoven's The Piano Sonata No. 14 in C-sharp minor , popularly known as the Moonlight Sonata / http://davidfenech.fr /

Domestic Violence: Tikul+Jendrek - Domestic Violence is an audio-visual noise live performance. We are using DIY interfaces / controllers based on arduino platform and pressure sensors + custom built Max/Msp patches and DIY glitch 'machines' + self recorded 'bodily mutated' video footage ... Sound - prerecorded samples - only field recordings modified by effects live. we are distorting our field recordings and images live.. producing physical noise waves and glitchy audio-reactive video content. Our live set : http://www.vimeo.com/20498692 / website: niochnioszki.net / dv soundcloud : http://soundcloud.com/domestic_violence/ http://vimeo.com/8033828 / Andrzej Wojtas and Ewelina Aleksandrowicz are Berlin based artists who are collaboratively working within the area of digital media - creating live visuals, video clips, audio-visual performances and installations. Their practice also involves a wide range of interdisciplinary activities - programming, physical computing, experiments with sound and building electronic devices for controlling sound and image. They’ve both recently accomplished Masters of Research degree in Digital Media at Culture
Lab - Newcastle University, UK. Their works were presented internationally at various Digital Arts / Video Festivals and artspaces [i.a.: Vision’R Festival – Paris / Oberhausen Kurzfilmtage / European Media Art Festival - Osnabrueck / Tankstelle / G.A.S. Station Gallery – Berlin / Athens Video Art Festival - Athens - Greece / STEIM Amsterdam - Holland / Sound:Frame - Vienna - Austria / Bochum Video Festival - Bochum - Germany / Naoussa International Film Festival - Greece / Darklight Festival - Dublin - Ireland / Unsound Festival - Krakow - Poland / WRO Biennale - Wroclaw - Poland / Pixelache - Helsinki - Finland / Newcastle Science Festival - UK / Laptopsrus - Hsinchu Centennial Imaging Art Festival - Taipei - Taiwan] / They are constantly trying to challenge the viewer with their immersive, disturbing works, which are exploring queerness of the human body and its transformations, physicality of image and sound, cerebral violence. Their works are attempting to bend the perception of time - intensify the senses of the viewer and reactivate of the dismissed areas of psyche. Their creations and projects have been reviewed in the Wire Magazine / The Guardian / XLR8 / BELIO Magazine / DAZED / the Guardian / Fashioning Technology // artists website :: http://niochnioszki.net/ Domestic Violence is an audio-visual performance project by Ewelina Aleksandrowicz and Andrzej Wojtas. Granular outbursts of sound, synthetic paroxysm and DIY approach shape intensive performances arranged through a specifically conceived sensor based controller. The interface was built by the artists in order to control and manipulate the sound and visuals simultaneously, it allows the production of sound as a consequence of physical
gesture by using Force Sensitive Resistors. Different intensities of pressure and touch result in augmented or reduced inflection of glitch and noise and distorted aesthetic crashes of the video projection. Artists are using gun object [a part of interface] which consists of a camera, microphone and accelerometer to control the sound synthesis. Interface is connected to a laptop with Max/Msp software through Arduino platform. Influenced by post-apocalyptic landscape, glitch aesthetics and destructive punk attitude, Domestic Violence turns emotional aggregates into therapeutic images. During its live shows, the audience is invested and tortured by deeply sensual waves of concrete, material sound and pixelated raw images. With its harsh expressive wildness and a dark, brutalist touch, Domestic Violence leads the viewer through an imaginative digital pilgrimage, exploring human and inhuman primitive roots by reactivating dismissed areas of our psyche. Domestic Violence project aims at exploring the distortion phenomena in sound and image and research on tangible electronic interfaces and new ways of producing interactive sound. Performance was presented at number of festivals and venues in Berlin, Rome, Helsinki, London, Manchester and Newcastle

Elemental Noise: Fractal Temperament / France / http://soundcloud.com/elemental-noise / Experimental Electronic, Electroacoustic, Abstract Ambient, Sound Art

Elizabeth Veldon: Audio: quasar / Video: redshift for papillon

Eric Perier: Impromptu film of musicians Ayato, Adrian Beentjes, David Cunliffe, Anthony Donovan, Ian Linter, Anton Mobin, Hopek Quirin and Thomas Fernier setting-up and soundchecking before a live performance of Linter's Octaedre Resonant, at Les Voûtes, Paris, France, 21st April 2010

Felipe Barbosa: Releases: E [2012/Ilse] http://ilse.bandcamp.com/album/e / San Antonio [2012/Bruitsnetlabel] http://archive.org/details/b046s_FelipeBarbosa_SanAntonio / Kyodake [2011/Bruitsnetlabel] http://archive.org/details/b004s_felipe_barbosa_kyodake / Cartílagos [2011/Boolean Records] http://archive.org/details/Cartilagos_Felipe_Barbosa / On Soundcloud:
http://soundcloud.com/a-e-g-i-r / Collaborative project: http://soundcloud.com/felipe-barbosa

Felipe Barbosa and Rosendo J. Rocha: Intuite: Acoustic works through Felipe Barbosa's "Intuite" theme / Felipe Barbosa: Computer Piano / Rosendo J. Rocha: Acoustic Guitar, Gong, Chimes

Friture Trio: cretin bop was made with crappy keyboards and turntables. The band was not really active during 2001 and 2010. It was recorded somewhere during autumn 2008. The band was Analus Boos, Denis Mc Carty and Carlos Groënland, they recorded 4 albums and they split in january 2011

Gino Robair: Performance at Pharaoh Maybelline's Sound Trough, San Francisco, California, USA, 12th July 2009, filmed by Greedmink

Guy Harries: Guy Harries is a London-based composer/performer/sound artist. He performs with flute, voice, electronics and multimedia. His compositions have been performed by contemporary ensembles such as: The Tate Ensemble, SOIL, The Roentgen Connection, Vocal Lab and LOOS, and have been broadcast and performed internationally. He is also a singer-songwriter, practising electronic troubadourism with his laptop and voice. He completed his PhD in Electroacoustic Performance at City University, London in 2011 and is a senior lecturer in music at the University of East London / www.guyharries.com

Hal McGee: Monotrinity for Classwar Karaoke is a straight-up improvisation created with Korg Monotron, Monotron Duo and Monotron Delay analog synthesizers. Hal McGee has been recording and releasing his own homemade experimental electronic music since 1981, has released more than 200 albums, has ceaselessly promoted DIY music, and has produced numerous international networking projects and compilations. Please visit http://halmcgee.bandcamp.com/

Ian Linter: http://epsilonia-radio.blogspot.fr/ http://astrangerparadise.com/ianlinter

Iku Sakan: Pfeiffrosch (03:27) - May 2012, Berlin. Special thanks: Miki Yui, Anders Lauge Meldgaard. Iku Sakan is a experimental musician, improvisor and DJ from Osaka, Japan currently based in Berlin, Germany. Since 2009, he has been performed in Germany, Italy, Spain, Switzerland, UK, Mexico, Malaysia, China & Japan, including important festivals in Europe as a member of several bands, such as All Tomorrows Partie's in Minehead, UK(with Maher Shalal Hash Baz) and Avantgard Festival in Schiphorst, Germany(with Meeting of the Spirits). http://soundcloud.com/ikusakan

Jack Twang: Believe those who are seeking the truth. Doubt those who find it (Andre Gide)

Jared C. Balogh: I am a multi-media artist from Bethlehem, Pennsylvania U.S.A.  I have two experimental audio projects: Trans Atlantic Rage and Balogh (Jared C. Balogh: pronounced Bay-log). Trans Atlantic Rage was established back in 1998 and Balogh was establish in July of 2010. The difference between each projects are that Trans Atlantic Rage is predicated on heavy processing, effect usage, and editing and Balogh is more organic which relies on intuitive first take creating, composing in notation, and minimal editing forms of music. I am also a part of other collaborative music projects.  I express myself through my painting, sculptures, music videos, digital art, and photography.  Also, I am involved in studio engineering, recording, mixing, producing and mastering, live sound set up and mixing, and live show lighting experience.  I have put on a hand full of live shows in the mid to late 1990's and have run the net label Altered State Reflections. Please check out the many pages on this site – it goes far more in depth than this bio.  I have tried to update and be as accurate as I can with all of the information of past releases and happenings.   I hope you enjoy this site and return for future discoveries. Jared / other site to visit: http://facebook.com/jared.balogh / http://www.myspace.com/baloghmma / http://www.myspace.com/transatlanticrage / http://www.alteredstatereflections.blogspot.com / https://twitter.com/#!/J_BALOGH1

Jealousy Party: Fucked Primadonna (6:54) / WJM - mix, jp set / Mat Pogo - mix, actual and record vocals / Edoardo Ricci - trombone / Recorded by Matteo Bennici Oct 2011 / Mixed by Jacopo Andreini Apr 2012 at Isola Cannon Jack - Nipozzano - IT / www.burpenterprise.com

Jo Pearson and John Hyatt: In this story from The Magic Radio, we encounter The Wind and The Sun fighting. In the midst of their fisticuffs they stop when they spy a mysterious, glistening, figure in the distance and he becomes the focus of their stormy argument / © Jo Pearson and John Hyatt, 2012

John Hyatt: This is a track and movie that John made for exhibition projection. It has been shown in both Manchester, UK, and Istanbul, Turkey. It is shot through a kids’ cardboard kaleidoscope on the end of a palmcorder with slight digital post production. John, singer with the legendary, The Three Johns, has produced an album, Do What You Wanna Do, available to purchase from

John Jasnoch: Mandolin, toy piano and frame drum. Recorded 1st April 2012

Joséphine Muller and Ian Linter: Title : Halo, Love by Joséphine Muller and Ian Linter / Free mind. Halo, Love. Free mind / http://astrangerparadise.com/josephinemuller / http://astrangerparadise.com/ianlinter

Juca Pimentel: Left to right: Thomas Fernier, David Cunliffe, Anthony Donovan and Hopek Quirin, four artists associated with Classwar Karaoke, play an improvised set at La Miroiterie, Paris, France 20th April 2012, filmed byJuca Pimentel

Jurica Jelic: Dogs chants is an electroacoustic piece made my manipulating samples with csound. For the source material I used howling recordings from my Alaskan malamute "Kiva"

Kalistongue: (<...) andrewhowes.bandcamp.com/indexpage / andrewhowesdotcom.wordpress.com / www.archive.org/details/DegreesOfAbsence

Kay Grant, Lol Coxhill and Olie Brice: Kay Grant - Voice / Lol Coxhill - Soprano Sax / Olie Brice - Double Bass / 'Rags and Bones' - 05:39 / This is an edit by Kay Grant of a live appearance on ResonanceFM, featuring her trio with saxophone legend Lol Coxhill and double bassist extraordinaire Olie Brice. The music was freely improvised, composed in the moment and without prior consideration. Kay Grant originally hails from New York, but has been a dedicated Londoner for nearly half her life. In this trio she continues her exploration of the singing voice as an instrumental component, with a free approach to jazz built up on a journey through opera, oratorio, rock, and pop. An "extraordinary vocal talent and one of London's finest, free-thinking virtuosos" (Time Out), she has worked with heavyweights on both sides of the Atlantic, including Hannah Marshall, John Russell, Veryan Weston, Mark Sanders, Steve Noble, John Edwards, Elliott Sharp, Shelley Hirsch and John Zorn. Her latest CD, Fast Talk, is a duo with clarinetist Alex Ward, and is out on Emanem. www.kaygrant.com / "Lol Coxhill is a musician who's touched on nearly every area of music over the past half century. In the '60s he jacked in his day job to accompany soul singers like Rufus Thomas. He'd sit in with bluesmen like Alexis Korner and Champion Jack Dupree. He was signed to John Peel's label Dandelion and played bebop with the likes of Bobby Wellins and Stan Tracey, prog rock with Steve Miller and Kevin Ayers, and dabbled in ska and rocksteady with Rico Rodriguez and Jazz Jamaica. In 1977 he even toured with the Damned. In the last decade I've seen him play with assorted avant jazzers, drone rockers and electronic mavericks. I've seen him busking near the Thames, and seen his old LPs selling for $100 in New York record shops. And I've also heard him playing beautiful, straight versions of standards.... A true national treasure and a top geezer." (John Lewis, Time Out) www.lolcoxhill.com / Olie Brice has made a definitive and deserved mark on the London jazz scene in recent years. He currently leads two of his own groups playing his own music, is a member of several collaborative projects and is increasingly in demand as a valued contributor to other people's groups. He has worked with Evan Parker, Paul Dunmall, Louis Moholo-Moholo, Ken Vandermark, Tony Marsh, Pat Thomas, Mulatu Astatke, Alan Wilkinson, Hannah Marshall, Steve Reid and Steve Swell, among many others. "Brice makes the entire body of his bass sing. He has the ability to deliver a fractal line that is as purposeful as any by the great jazz bassists, but to do so within an entirely abstract setting” (Brian Morton, Point of Departure). www.oliebrice.wordpress.com / The track is taken from a live session for the show Disorder At The Border hosted by Joseph Kassman-Tod and originally broadcast in Dec 2010 on radio station ResonanceFM. Photograph by Andy Newcombe (www.youtube.com/user/shuffleboil)

Kecap Tuyul and Ayato: "they can't sing, they can't whistle, they can't dance, they can't draw, they can't write, but they have guitars and they don't need anything else to narrate you a story" / http://ayato-sn1984.blogspot.com/ http://kecaptuyul.wordpress.com/ http://www.archive.org/details/eg0_054

LAu Focarazzo: UNCONVENTIONAL MEETING / About the video. "Unconventional Meeting" is a short video piece in collaboration with the Japonese sound artist, Takuya Minakawa. The highest level of abstraction and sounds invite us to be a witnesses on this beauty and aparently chaotic world. About me. Laura Focarazzo lives in Buenos Aires Argentina. She is a Graphic Designer graduated at the University of Buenos Aires and she also studied piano and musical harmonies. It wasn’t until the early Nineties that she started to study film directing. She works with experimental musicians of the local and international scene. Her works have participated in exhibitions and international film festivals: 13º BAFICI - International Independent Film Festival of Buenos Aires- , Festival Fuga Lab in Buenos Aires , Abstracta Cinema -Festival of Rome-, AIVA -International Video Art Festival in Sweden- and FLAVIA - 1º Festival Latin America of Video Art-, INCUBARTE -International Independent Art Festival in Spain-, between others. About her short films, she says: "I would like to get the audience involved in a similar way that they would towards a poem, to feel some kind of inner experience which stirs them up somehow."She is is also member of the international audio/visual collective group: Exquisite, What? / https://vimeo.com/laufocarazzo / https://vimeo.com/exquisitewhat

Lil and Moonroom: Lil is Marcin Tomczak / LIL / www.myspace.com/sonopanic / Moonroom is Marta Bochenek and Krzysztof Buzow / MOONROOM / moonroom@rocketmail.com / MIRACULOZOOM - M. BOCHENEK: FLUTE, VOICE; K. BUZOW: KBDS; M. TOMCZAK: COMPUTER WORK, OBJECTS ( LIL/MOONROOM 2012 ) / AILIBERIA - MUSIC BY LIL (M. TOMCZAK AND A.NOWACKI), VIDEO AND GRAPHICS - M. TOMCZAK / COVER - M.TOMCZAK / additional link _ http://archive.org/details/TFR259-LilAndMoonroom-BadScene

Lode: Amongst Alison's current music projects is Lode… / Lode / Alison Blunt with violin, voice, tenor horn, toys and objects / David Leahy with double bass, toys, objects and looper / Internationally respected artists in the new, free and experimental music communities, Alison and David have teamed up to create music with references that might graphically resemble Medusa’s hair-do. As the monster with her serpent hair, Lode allow wide-ranging influences free rein to serve a purpose, that of bringing attention to the moment / www.alisonblunt.com/Lode.html / www.dafmusic.com/Lode.html / Domestic Suite (9:45) is in four parts: Surfacing / Exuberant Moment / Cogitating / Night Disquiet / Domestic Suite combines four recordings recorded in the same session on the 18th of April. 2012 Each recording was created spontaneously with no forethought. The plan to create the suite came later / www.alisonblunt.com

Ludo Mich: Ludo Mich - Moons Moons Moons / Recorded live at Factor44, Antwerp, January 25th 2006 / With Vaast Colson, Maarten Tibos, Hans De Ley

M4SK 22: Glide Inside by M4SK 22. Sounds and Visions by M4SK 22 (David Moss and Simon Woolham) and the good neighbours of the forest

MaCu: [...]

Mamabaer-Kommissar Hjuler: film originally done as a work for festival Bruit de la Neige, Annency, France, 2011, was shown during the festival, theme of the festival was Eros' weapons, but also for some more events

Marteau Mu: LA FEMME A - he suddenly became tense - he looked like a dog - he had few hair - "you wanted to see the toes" - a mere simulation - throw him out - "you seem horrified" - he seemed absorbed - I started to walk - he bit me once - It didn't stimulate me - I knew pleasure - would come at last - I demanded - he feared - I advised his widow

Martha Moopette and Oblivian Substanshall: The Oblivian Substanshall album "Finnish....But Don't Wait Till You Stop" (chinstrapmusic.blogspot.com) comes with a new video from Chinstrap's resident film-wizard Martha Moopette, using elements of every track on "Finnish...." to create an intense, strange and hilarious film collage of death and digestion. Featuring Amie Willingale, Talulah Lotus, Autumn Poppy, and a range of dead animals from the streets and fields of Bridport

Mike Durek and Tumei Tejas: Michael Durek's sound collage made use digitally chopped up bits of his old songs, spliced with a reel to reel copy of an interview with composer Rudolf Friml. Those sounds were then electronically manipulated and interjected with the sounds of people having sex.  Rudolf Friml can talk about his creation freely in any cultural setting, whereas the appearance of human sex sounds is surprising and would be unwelcome in many cultural settings.  The juxtaposition sheds light on a sick cultural taboo. The more essential type of creation (sex) can only be described coolly and from afar when done in public arenas, whereas a composer talking about his work can be shown or heard anywhere. The video by Tumei Tejas includes visual equivalents to the sound collage which reflect the degree of discomfort in the discussion of sexuality. Scenes of domesticity, comfort and conformity coupled with technological intrusion and ghostly dancing figures bring awkwardness to this unsettling co-existence. The use of water signifies the essential aspects of sexual candor and natural processes which humans ignore at their peril. The body is represented as something to be shunned and sexuality is regarded as a perversion to be handled timidly

Miquel Parera: nxH21-2012-05-08_04_24_28 / Livecoding Drones / Perhaps nothing is real, do not look so sure of your truth / http://musicnumbers.wordpress.com/

Murmurists: I sent you a love letter, not a final demand. No matter what I say, though, I know you will carry on updating. I've never felt less mundane, less domestic. I am photographed. I get to be a trick of the light. The house is airconditioned; and there is television all day

Oblivian Substanshall: Oblivian Substanshall often spends unhealthy amounts of time in a sedentary position, perched at his laptop computer busying himself by surfing the internet, sending emails and regularly recording absurd songs and the like. He also produces his own one man show called The Oblivian Substanshall Show for a community radio station based in South Devon called soundart radio. Oblivian Substanshall exists at the very fringes of musical acceptance. As skilled at crafting the perfect pop song as he is at mind blistering musique concrete, his show is not to be missed. SR / He also has a blog page called ...  SUBSTANSHALL VERSE ... and works on Free Music Archive as well as archive.org SEARCH: Oblivian Substanshall / 'I haven't known Oblivian long, but he's become very quickly a close friend and ally, and he ought to be yours too'. (Ergo Phizmiz)

One Minute Wanda: [...]

Owl Brain Atlas: J. D. Nelson: Vocals, Tapes, Noise, Guitar / May, 2012 / RIP MCA

Painburn: a dreaming mind needs a universe in which to move, and to escape from the black hole that would catapult her into banality

Patrizia Mattioli: Borgo Retto,5, 43100 Parma | Mob +39 340.8060091 / mattioli_patrizia@fastwebnet.it  - patriziamattioli@me.com / I graduated in clarinet from the Conservatory  A. Boito of  Parma and I specialised  my composition skills with a Master degree in London. I won the international competition of electro acustic music organised by I.R,C,A,M in Paris. In my career I had the chance to be involved in various artistic situations: theatre, dance, visual and sound arts. At the beginning of my career I performed my first composition for Lenz Rifrazioni Lenz Theater (company of contemporary research among the most stringent in the European scene). I also collaborated with different experimental groups (post rock, post-industrial, punk, contemporary). My original music was presented in several Festivals, including Venice Biennale Dance / Music,  Natura Dèi Teatri, Sguardi Sonori festival of Media, Timed Based Art , Berlin , Festival di Santarcangelo, Cantieri Danza, Zona Franca, Pontedera Teatri, As a Little Phenix 2. My activity is going on both in Italy and abroad

Paulo Chagas: counterpoint piece, using the natural sounds of flute and oboe over an electronic canvas made by the transformation of the same instruments and some ambiental little chimes

Paulo Chagas and Wilhelm Matthies: “Freedom” resulted from a graphic score which was composed at the time of death of the left-wing Portuguese politician Miguel Portas. This musical work is dedicated to the memory of this great man who devoted his life to defend of freedom and democracy, as well as the fostering of cultural activity. Paulo Chagas wrote the score, Wilhelm Matthies responded to it using the mosesa 2, Paulo Chagas added soprano sax, Wilhelm Matthies mixed

Paulo Chagas, Matthias Boss and Maresuke Okamoto: http://zpoluras.bandcamp.com/album/little-concert-in-the-garden / Little Concert in the Garden by Paulo Chagas, Matthias Boss and Maresuke Okamoto / Little Concert in the Garden cover art Tweet / The decay of the ice flower 02:46 / 04:41 / ‘The temple bell stops but I still hear the sound coming out of the flowers.’ Basho / ‘The flower is the poetry of reproduction. It is an example of the eternal seductiveness of life.’ Jean Giraudoux / Leave your expectations at the gate for this garden walk-concert. You will not hear neat rows of petunias and daffodils. No, you will take windy paths, here, going quickly, there going slowly, now very prickly and fast, now very slowly and softly. Take a walk in the garden with these fellows and hear their concert. Maresuke Okamato often provides the ground and the stems with his contracello and double bass. Sometimes Paulo Chagas leads with his flute, and provides the stems too and petals, often cooly. Sometimes Matthias Boss leads with his, very frequent, witty use of the violin. Be delighted at every twist and turn in this little garden concert!! / credits: released 02 February 2012 / Chamber contemporary improvisational suite in 10 movements / Paulo Chagas - flute / Matthias Boss - violin / Maresuke Okamoto - doublebass and contracello / liner notes: Wilhelm Matthies / cover photo: Hilton Lafayette / mixing/mastering/production: Paulo Chagas

Penates: deep in the house / Mat Pogo: vocal, mix, cd-player / JD Zazie: mix, cd-player / Live at Theaterkapelle, Berlin / February the 8th 2012 / LINK to PENATES: http://www.burpenterprise.com/burp/articoli/penates/ LINK to BURP ENTERPRISE: http://www.burpenterprise.com

Pixyblink: musician http://www.facebook.com/pages/pixyblink/300370184660 / http://www.facebook.com/pages/winter-umbrellas/301590217334 / http://www.facebook.com/pages/anotherAntidote/313642973903 / http://www.facebook.com/pages/cave-dwellers/303881433098 / http://www.facebook.com/pages/starblood/150014791696896 / photographer / http://www.facebook.com/media/set/?set=a.179025948788504.40767.100000432997504 / video artist http://www.facebook.com/video/?id=100000432997504 / http://www.youtube.com/KyraPixy http://www.youtube.com/GiraffeAccountant http://www.youtube.com/KittySarcophagus / poet http://kyrapixie.blogspot.com/

Protecious and Lezet: Fudge. Carbuncle. Open software. Armenia

Qkcofse: The track is composed entirely from voice and finger drumming, and features accidental phrases arising from improvisational editing of the jumbled voices; the title phrase sounds like it's from a haunting, a clue to someone on a scavenger hunt, or a mysterious warning / http://theunexpectedsound.blogspot.com

Radio Eris: Founded in 1999 by poet/guitarist Lora Bloom and keyboardist/bassist Matt Stevenson, Radio Eris features Dan “Redbeard” Baker on lead guitar, the mysterious Kenny on synthesizers and noise, and Brad Rothman on drums. They have released 6 albums of spoken word, ambient sounds, space rock and mind-bending noise, run out of gas on the A-4 in eastern France while on tour, purchased property, hung out with members of Hawkwind, and had any number of other adventures across the last decade. They operate out of Eris Temple Artspace, a diy art gallery, music studio and performance space situated in the thriving boil of West Philly’s underground music and arts scene.   The delicate "Mortal" appears on their most recent album, At your Service (2012), and is a spoken-word piece set against  a soaring yet sinister guitar vision written by Dan Baker.  The poem "Mortal" was inspired by television and comic books and presents both a dark love story and moral question / Mortal - By Lora Bloom: I didn’t kill him when he asked me to I knew who he was and what he would become He looked into my eyes and said he was sorry for all that had been done I knew that he meant it He took one step forward pointed me towards his heart He said the world would be better without His life rested so delicately between my fingertips My eyes were open I knew what he was I knew what I had done And who I had become And I didn’t kill him When I had the chance

Radio Eris, Jon F. Allen and Witold Lutoslawski: From an interview with Radio Eris by Chim Mind filmmaker Jon Allen / To see Radio Eris perform is like entering another world. Multi-colored lights, and war paint erupt amidst passages of heavy guitar shredding, dark ambient noise, and electro-organ beatification culled from past saints of psychedelia. One feels as if alternately passing through transcendental and terrifying corridors of the mind from Lora’s haunting vocals—vocals that sometimes shift into staccato, Diamanda Galas inspired screams, augmented by transitions into her sci-fi poetry. When Lora asked me to create a music video for them, I jumped at the opportunity. How could I resist the song “Chip Mind” from their latest release At Your Service?  I drew inspiration from conversations with the band, bad TV shows I never outgrew, and conspiracy books like Alex Constantine’s Psychic Dictatorship USA and Jim Keith’s Mind Control. We had a supremely fun “Chip Mind” screening at The Eris Temple with very positive reactions from all in attendance

Relentless: Enregistré en juillet 2009 pendant une résidence sur le paysage sonore à CESTA, dans un atelier de métallurgie, Cerní Remeslníci (Tábor, République Tchèque), pendant que deux ouvriers, Ladislav svárec Procházka et Karel bruska Sychra, travaillent, comme à leur habitude. La pièce qui en est issue, est un témoin d’une vingtaine de minutes de notre présence dans ce lieu. Remerciements: Hilary Binder, Christopher Rankin, Georges Cremaschi, Ladislav svárec Procházka et Karel bruska Sychra. Relentless: Suite à une collaboration dans le collectif d’improvisation In Sit-U depuis 2003, les deux saxophonistes Artur Vidal et Sébastien Branche ont souhaité explorer les différents types de relations pouvant avoir lieu entre leurs recherches sonores et d'autres pratiques de création ayant recours à l'improvisation. /Relentless/ constitue en quelque sorte la sédimentation sonore d'une suite d'investigations, menées au cours de ces dernières années, autour de la danse et de l'image dans leurs rapports à la musique improvisée. Notes tenues, respiration continue, sons multiples, accessoires, sont autant d’éléments récurrents à chaque fois mis en jeu dans une dialectique entre un idiome qui se crée à force de pratique, et la nécessité d’un geste improvisé pour une musique qui veut prendre en compte chaque son et chaque instant dans son écriture. Recorded in July 09, during a residency on soundscape at CESTA (www.cesta.cz), in a metal workshop, Cerní Remeslníci (Tábor, Czech Republic), while two workers Ladislav svárec Procházka and Karel bruska Sychra, are at work as usual. The piece that comes from it is a 20 minutes testimony of our presence there. We would like to thank Hilary Binder, Christopher Rankin, Georges Cremaschi, Ladislav svárec Procházka and Karel bruska Sychra. Relentless: Following a collaboration in the multidisciplinary improvisation-collective In Sit-U in 2003, the two saxophone players Artur Vidal and Sébastien Branche decided to examine together the different relations that could be found between the way they play music and the other forms of expressions involving instant-composition. For the past few years, they have been looking into the relations between dancing, video and improvised music. /Relentless/ is, in a way, the sound layer that settled through these investigations. Long tones, circular breathing, multiphonics, objects, are some recurring elements always renewed in a dialog between an idiom that settles through practice, and the necessity to improvise to create a music that takes into account each sound and each instant in its composition. Originally released by Insubordinations / http://www.insubordinations.net/

Roberto Lazzarino: http://www.lazzarinoecavigliapianoforti.it/ http://www.myspace.com/robertolazzarino

Ronny Wærnes: Marone / Recorded February 2007 to enter the RPM 07 Challenge

Rosendo J. Rocha: Bricolage / Experimental Improvisation / Electric Guitar, Acoustics

Ruela Pinho and AkaMan: Video by Albano Ruela. Soundscape by aka:man (Ross Ackerman). Inner Necessity is a tribute to Wassily Kandinsky and his devotion to inner beauty, fervor of spirit, and spiritual desire inner necessity

Ryan Jordan: Sound artist and electronic musician working with DIY punk electronics, physical performance, Pure Data, and noise. Organising workshops, formal and informal learning, and platforms for artists and musicians using free and open source soft and hardware / http://ryanjordan.org/ http://nnnnn.org.uk/ http://www.modusarts.org/ http://www.badsekta.com / http://doc.gold.ac.uk/~ma701rj

Seth Guy: Vertical Intertextual Improvisation (video documentation), Goldsmiths College, London, 08/05/12 / Video documentation of a recent live performance incorporating an activated sculpture and an improvised monologue as part of a performative seminar during my third term of the MFA Fine Art at Goldsmiths College, London. Thanks to Jessica Rose and Rebecca Peters for technical assistance / http://www.sethguy.co.uk / http://sethguy.bandcamp.com

Shane Morris feat. Pixyblink: [...]

Snack Family: Never Trust A Skinny Chef' / 1. Pip Runs Hard / 2. Belly / 3. Fetter The Same / 4. No Reason / 5. Pokie Eye Poke Ya / SNACK FAMILY / Personnel: James Allsopp: Baritone Sax, B.Vs,
Tom Greenhalgh: Drums, B.Vs, Andrew Plummer: Baritone Guitar, Vocals / Recorded 13th July 2011 at The Vortex, London. Produced by A. Plummer and A. Bonney / A. Plummer / Email: snackfamily@andrewplummer.co.uk  / Tel: +44 7813 482 198

Sonvol: http://archive.org/details/krep-productions Sonvols net.label / http://archive.org/details/nowaytwowayout net.label for slovenian authosrt tha Sonvol runs http://www.docstoc.com/profile/sonvol profile for e-zine Perjanik and fanzine krep that Sonvol runs http://www.myspace.com/krepproductions Myspace profile of Sonvols label http://www.facebook.com/smejko.matejko / Sonvol is a musical-noise project from Predoslje, a small village near Kranj in Gorenjska region of Slovenia, EU. It started in 2009 in Kranj. On Krep productions there was released: 1 LP, 8 EPs and 3 singles. Sonvol released several items with the name Sonervol, Patej, Zaman Cheh and VeDaKR. As Sonervol 2 EPs and one single, as Patej 1 EP and 1 single, as Zaman Cheh 1 EP and as VeDaKR 2 LPs, 2 EPs and 2 singles. All on Krep productions. Sonvol played in several punk bands as Skankmesija, The Little Things, Be Creep and Big Trip and one unnamed band in high school

Sound Inhaler: No answers, only painful, almost desperate questions / Contact: soundinhaler@yahoo.co.uk

Steve Beresford, Sharon Gal and Moshi Honen: Portion of a live, improvised set at Boat-Ting, London, UK 18th January 2010. Steve Beresford: electronics / Sharon Gal: voice / Moshe Honen: guitar & electronics / Filmed by Anthony Donovan

Stormhat: Stormhat is the moniker of the danish composer and visual artist, Peter Bach Nicolaisen. Stormhat is the danish name of a perennial and very poisonous plant which in latin is the "Aconitum"-family. Stormhat has released 10 albums on labels in USA, Great Britain, Belgium, Austria, Norway and Denmark + some tracks on different compilations. The music of Stormhat is meant for easy listening on the homestereo for the lonely and sentimental dreamer. Stormhat is a lot older than he sometimes appears

Supersoft (14-18): Stack Overflow at Line Zero - Paix, oh ! Ciel-dents, mixé, hervelé, caressé. Aimer tout, jambes, poulets, touch and go, cassis, framiches… Illuvions tendres, naguère châteaux, Base-ball ou bien. La femme aux maléfices chante l’âge d’or de la Forêt-noire. Il y a des canapés. Deviner l’hétaire panthère penser paniquer de la fuite en avant : de la truite à savant, un poil obscur, acerola flambeau translucide, table-nomenclature soignée saignée, homard thermidor, toutes les lettres jamais arrivées. Etc. Sandales Palerme sur vase là-haut cramoisi ou avec merguez-radar femme, pas si simple. Le duc d’Anjou est en villégiature, sans putti, seulement avec ses cuillères de mariage et l’étoile électrique de l’évasion en vain. Le germe était dans le maïs-magique. A jungle of intrigues ; mais à l’époque, tu ne m’avais pas cru. Fiel de femmelette et de turlupin, échauffourée de bungalow d’été oval, léopard à bras le corps, babiole du Caucase ; surplus d’antimatière : la musique, les moteurs, le hashish, Nabokov, les saucisses, les discussions de la toile de Pénélope. Bruit-passion salivé dans une belle salle de bain, à propos du trajet du nerf vague, sans être un expert. Une énième histoire kubrickienne, en somme, de lapis-lazuli, de myosotis et de machine à laver, où les mots ont dépassé la pensée. Reste rien. Pas de conséquences. Vis avec. Tu sais le sursis. Tu es grièvement faillible, pasteurisé, et ton téléphone urticant parle en cyrillique. Miséricorde transie, morose, écarquillée, souillée ; contorsionniste estropié ; tu es marqué. De longue haleine, si la bague doit être folie rouge; mille fois hélas, avoir regardé nerf dans. Diagnostic enjôleur, cauteleux ; maintenance. Batte en frêne (fraxinus).  Hey ! Joue les Ornements, Rose Temps ; sois l’Hétyre, en vrai, berce belle aveugle nuit. Renaître sur le travelling du solstice, illuminé si découdre, selon Annabelle Lee. Choque joueurs et bracelets, cours, peins. Piscine étrange, c’est tout. Bouquet avec vagabond sursaturé et scotché en avant. Volte-face des gueules cassées, garce nihiliste, Ras el-hanut sans accent tonique. Stupéfaction blême, irrophagie, aboiements rhapsodiens. Hurle, cherche vent solaire. Dans le texte, dans les ruines, dans les registres de chablis, dans l’ADN mitochondrial ; on recommence, de toute façon. Pense non, crise oui. Herse, chiens de sang ; grande Balafre semée jaune, oursin sur araignée vaincue mais rêvée avec. Born to be bad. J’avoue, dit le 14è duc d’Edimbourg, c’est mon alcool, ma fête. Et car avec trop d’hommes-insectes partout

The Bell Maker: Tet / Tet in the year of the monkey That's when your birth was set. Set in Tet. The Perfume river is the Ravensbourne. Blackheath is on the Mekong delta, And all the babies are on their fathers' knees. While missile launchers grind the Columbian beans, Navy Marines. That's the truth of it, the truth of Set in Tet. A stuffed monkey ambassador with cereal paws, Is dropped behind the Arga range. To fight for the right to cook up a story. The plague heath is ploughed by tanks. Estate Agents claim under their  guarantee, That nothing shall prevent the prams from pushing through to Saigon. We're ready to lunch

Thomas Fernier : guitare préparée, objets & effets divers

Thomas Zunk: Thereminist, multiinstrumentalist, improviser, composer, based in Berlin, Germany / http://soundcloud.com/thomas-zunk

Thomas Zunk and Richard Lainhart: ORAISON by Olivier Messiaen / arr by Richard Lainhart & Thomas Zunk / this track is aka L'Eau from Fête des Belles Eaux for six Ondes Martenot 1937
aka Louange à l'Éternité de Jésus from Quatuor pour la Fin du Temps 1942 / backing arrangement by Richard Lainhart 2010 - BUCHLA 200e modular synthesizer & HAKEN controller / lead voice by Thomas Zunk 2012 - MOOG Etherwave Standard Theremin & devices / released 2012 03 04 and 2012 04 23

Trans Atlantic Rage: I am a multi-media artist from Bethlehem, Pennsylvania U.S.A.  I have two experimental audio projects: Trans Atlantic Rage and Balogh (Jared C. Balogh: pronounced Bay-log). Trans Atlantic Rage was established back in 1998 and Balogh was establish in July of 2010. The difference between each projects are that Trans Atlantic Rage is predicated on heavy processing, effect usage, and editing and Balogh is more organic which relies on intuitive first take creating, composing in notation, and minimal editing forms of music. I am also a part of other collaborative music projects.  I express myself through my painting, sculptures, music videos, digital art, and photography.  Also, I am involved in studio engineering, recording, mixing, producing and mastering, live sound set up and mixing, and live show lighting experience.  I have put on a hand full of live shows in the mid to late 1990's and have run the net label Altered State Reflections. Please check out the many pages on this site – it goes far more in depth than this bio.  I have tried to update and be as accurate as I can with all of the information of past releases and happenings.   I hope you enjoy this site and return for future discoveries. Jared / other site to visit: http://facebook.com/jared.balogh / http://www.myspace.com/baloghmma / http://www.myspace.com/transatlanticrage / http://www.alteredstatereflections.blogspot.com / https://twitter.com/#!/J_BALOGH1

undRess Béton: Born as possible extraordinary bizarre eccentric appearance, as well the world as living, we think of ‘wasn’t’ a truth anymore. Parodic, there it was him barking to skies of her pain.
Aligns mortality compelling in the sense they are, a dramatic coast case of wealthy discipline.
How important is to understand this place, her landscape only and his desire expelling hard believes trenched anxious childhoods. Unsettling like emerged distance figures of terrible loss of violent shyness discovering 1924 moves being hammered beyond her thighs. The conscious haunted pouring out together death and sex liberating obsessions from the unborn visions critical methods
paying dues to the couch pacified illusion through her syrup passing his dwelling desert, emphasizing the question the whore around us was him calling her name as his believe, it was to show. -undRess Béton

Vor Onus: Kansas City MO / Advant Garde, Drone, Experimental / Members: Trey Palley, Jason Hoover, MoonGlow: Auspicious...our dancer

Vurt : like i imagine most experimental producers and artists i started out in music learning more traditional aspects of theory and playing, but years of being put down for making incorrect choices from teachers and friends alike i realised that i wanted something that at the time i didnt actually think was out there. growing up in a small town meant that i had no real exposure to anything beyond regular music except the odd track on john peel i guess. i spent most of my youth riffing on guitar in metal and rock bands, never truely happy and often finding my ideas where ignored, it wasnt until i moved to a big city and started to go it alone that i found happiness in the sounds i was creating. still using guitar but letting the FX do a lot more than previous experience had allowed me.the introduction of the internet and software instruments gave me both an audience and a new arsenal of sounds, over the years creating soundscapes with soft synths and FX to play guitar over, i finally got not only the freedom i had longed for but also the confidence to go further and try out more of the ideas i had years before. im now at a point where i enjoy what im doing, the process as well as the outcome, i can often get lost for hours at a time just trying out changes, just letting the sounds wash over me and not worrying so much about other peoples reactions to the output. these days i use anything and everything that makes a sound or processes the sound, this track here is radios, filters and FX. tweaking both the radio tuning and the FX, as and when it felt right, allowing the track to build as i recorded. the only post processing was a little compression to even out the volume / http://www.viablehybrid.com/vh/artists/vurt/index.html

Weinberger: i am johannes weinberger. i like thunderstorms and pastry, and although i stopped panicking, i am constantly losing weight. some day i'll be gone. apart from my corpse, my music and books will remain for a little while, if you can find them. i believe in the unadulterated freedom of choice for every individual. good night

Zilmrah:  You Are Only Alive Defiled By Happiness / Lawry Romani: 18 String Guitarwheel, Eurorack Modular, Phonogene, Voices, Effects / Happiness is the last illusion to escape you only to be followed by the magnificent swell of the long dark eternity to follow. It will ravage you throughout a lifetime of dreams or connected moments of an individual’s reality and manifest itself most profoundly during the most difficult moments of that very same lifetime

Zreen Toyz: With the project Zreen Toyz, the French artist JLHB (born in 1954) likes pushing aside the notion of composer or musician and often presents himself as Sounds Sculptor. After few years in classical training on piano and percussions, he does not appreciate the stifling conformity of the academy and turns to the improvised musics. The continuation of its training is essentially self-taught. He crosses composers as Luc Ferrari and Ilhan Mimaroglu, but his meetings with Herman Poole Blount, more known under the name of Sun Ra, and the improvised electronic musics, in particular that of Tangerine Dream (period 1970-1975) and that of Conrad Schnitzler (he meets him in Berlin in 1973), are really determining for his sound experiments. Since his first pieces created in 1970, he works the sound material following inspiration of the moment, a raw and instinctive approach by stratification where any imperfection or sound incident become a harshness on which to hang on atmospheres or reflections. In this way, he creates impalpable and timeless landscapes where vibrations, noises, and collages erase the structure of the piece. His music is often used for artistic exhibitions, sometimes for contemporary choreographies and documentary movies / http://arcanewaves.blogspot.fr/

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