116 contributors, 95 pieces of music, 31 short-films. We humbly dedicate this survey to the memory of the late great Lol Coxhill, who died on 9th July 2012
1-PARAL-LEL: Anthony Donovan, Anton Mobin, Kris Limbach / a double-deaf trial called PARAL-LEL: several artists/musicians were invited to contribute one or more tracks of about three minutes which are randomly combined – this is the first result of the experiment... editing (minimal) and mix: Hopek Quirin and Kris Limbach
2-PARAL-LEL: Adrian Beentjes, Hopek Quirin / see 1-PARAL-LEL: second result of the double-deaf experiment with raindrops by Adrian Beentjes and wood-chopping by Hopek Quirin
3-PARAL-LEL: Jean Montag / see 1-PARAL-LEL: third result of the double-deaf experiment
04_Elements: In spring 2012, I began inviting players whose work I like 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 third of these pieces, comprised of myself and three other players: 04_Elements. Improvisers: Paulo Chagas: oboe / Anthony Donovan: electric contrabass, acoustic bass, acoustic guitar, metal percussion, electronics, voice / Jeff Gburek: electric guitar / Grady Gerbracht: electroacoustic percussion and drums / Composer: Anthony Donovan. (Anthony Donovan, August 2012)
6 or 7: Hymn in E / Horst Riemenschneider, Hopek Quirin and Jürgen B
07_Elements: In spring 2012, I began inviting players whose work I like 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 fourth of these pieces, comprised of myself and six other players: 07_Elements. Improvisers: Adrian Beentjes: electronics / Matthias Boss: electric violin / Paulo Chagas: bamboo flute / Anthony Donovan: zither, electronics / Anton Mobin: voice / Sonia Paco-Rocchia: bassoon / Hopek Quirin: voice / Composer and words: Anthony Donovan. (Anthony Donovan, August 2012)
07_Elements: In spring 2012, I began inviting players whose work I like 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 fifth of these pieces, comprised of myself and six other players: 07_Elements. Improvisers: Adrian Beentjes: electronics / Paulo Chagas: bamboo flute, oboe / Anthony Donovan: acoustic guitar, electric contrabass, electronics, percussion / Michael Durek: theremin / Anton Mobin: chambre / Sonia Paco-Rocchia: bassoon / Hopek Quirin: electronics / Composer: Anthony Donovan. (Anthony Donovan, August 2012)
08_Elements: In spring 2012, I began inviting players whose work I like 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 sixth of these pieces, comprised of myself and seven other players: 08_Elements. Improvisers: Adrian Beentjes: electronics / Rebecca Bogue: voice / David Cunliffe: electronics / Anthony Donovan: acoustic guitar, electric contrabass, electronics, percussion / Jeff Gburek: electric guitar / Anton Mobin: tape / Hopek Quirin: electronics / Bryan Lewis Saunders: voice / Composer and words: Anthony Donovan. (Anthony Donovan, August 2012)
213TV: Nein McClue / an episode from 213TV season 2 where our heroes stumble upon the london improvisers orchestra playing their theme tune. lol coxhill is in a green shirt, visible between the conductors ivor kallin and john bisset. from a performance at cafe oto june 2009 / www.2-13.co.uk / youtube: TwothirteenTV / john bisset & ivor kallin
Alan McLean: Most people who play guitar learn to tune the strings using 'beats', the loud /soft patterns created when two strings are at almost exactly the same pitch. As the tuning becomes more exact, the beats slow and eventually (almost) stop. Its possible to miss their extrordiary beauty. Although two strings are plucked at different frequencies, a single tone is heard. The changing pattern of volume that we recognise as 'beats' does not always follow a simple, steady rhythm. It often forms more complex patters, for example groups of three beats separated by a short pause. These patterns change as the sound fades. In addition, subtle phase shifts within each beat creates a sound that we do not really have vocabulary to describe (guitarists call it the wa-wa-wa sound) but which can be heard as movement, the rotation of the note in a stereo soundstage. The musical potential of notes of very similar frequencies has been explored by only a few artists, notably Phil Niblock and Giacinto Scelsi. (Conventional music theory, on the other hand, is explicitly based on tones that are not close enough to create beats.) This piece explores the sound potential of a guitar capable of producing notes that are very close together - so that an octave is made up of 60 of notes. This microtone guitar is a conventional classical guitar fitted with six identical low 'E' strings, tuned using one of the guitar's frets so that the highest string is a semitone above the lowest. the intermediate strings are tuned evenly by ensuring that the rate of the beats heard between any two consecutive strings is the same. In this piece, the guitar is played only using a string's first two harmonics which are, respectively, one octave and an octave and a fifth above the string's fundamental note. Played in this way, the guitar has limited melodic capabilities, being able to produce of only four conventional notes, E, B, F and C flat. This use of harmonics produces purer notes with a more stable pitch, something that is often used by guitarists for tuning. You can hear hear the guitar's raw sound in another recording 'Strum' (soundcloud.com/alan-mclean-1/strum-for-microtone-guitar). This is a study, an exploration of the instrument's capabilities, but it is unadventurous in terms of its composition. For another piece 'From 'Metamorphose', with Goh Lee Kwang (soundcloud.com/alan-mclean-1/from-metamorphose-alan-mclean) I used electric guitar and electronics to generate phase-shifting notes and blocks of sound with some similar qualities, and the composition is more coherent. In this version of 'Study For Microtone Guitar' the original recording is repeated three times, something that began as an accident but Anthony Donovan suggested keeping it that way and thats what we did. The original recording, which has no repeats, got the name 'Song 40' when it took 40 takes for me to play it correctly. It can be accessed, with somewhat better sound quality, at soundcloud.com/alan-mclean-1/song-40-study-for-microtone
Alia Eleu Thera: is a Canadian singer, rapper, musician, producer, writer, dancer and visual artist working with a large spectrum of styles and approaching the creative process with the intention of discovery. Alia Eleu Thera sings like a magpie on PCP, raps in her own angular style, sings hymns to her buddies from various cosmic realms, writes catchy, noisy tunes, and raw, honest lyrics that make you prick up your ears. She's got all the musical tools. Her presence commands the stage. She's also right purty. Her future as an artist will be limited only by her aesthetic daring. http://en.gravatar.com/aliaeleuthera
Anthony and Substanshall: Don't make us laugh
Anthony Donovan and John Hyatt: Made by Anthony Donovan and John Hyatt, August 2012. 3D pixelation by Lewis Sykes
Arcane Waves: Perception Through Comatose State / France / http://arcanewaves.blogspot.fr/
Art Electronix: http://www.artelectronix.org.ua/
ASTMA: 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: Climb Me / No sense in words anymore / http://astrometria.co.uk
Blu Simon Wasem - L.I.S. - Lugar n°1 / Lugar n°1 is part of the series of composition L.I.S. Lugar de inoportuno Sussurro or Lisbon Indeterminate Soundscape. Lugar 1° (tejo) (Part of L.I.S. decomposition series. Original sounds from Portugal, sound designed in Czech Republic. Lugar 1° (tejo). I wanted to make 'poor' art, but not Arte Povera. My work has nothing to do with Arte Povera.Beacause it's poor art, the materials must be poor too: quite simply, materials that make you think of poverty. To make poor art means to work against a certain idea of richness. To make rich art means to work with established values; it means to work with a definition of quality that other people have made. I want to provide my own definition of quality, of value and richness. I refuse to deal with established definitions. I'm trying to destabilize them. I'm trying to contaminate them with with a certain non-valuable aspect of reality. The value system is a security system. It's a system for subject without courage. You need values to ensure yourself, to enclose yourself in your passivity and anxiety. You need the idea of quality to neutralize your proper freedom: the fact that it's you who decides what's valuable or of worth. People need quality as a kind of ghost who helps you escape the real. To make poor art is a way to fight against this principle. Quality, No! Energy, Yes! T. Hirschhorn / About: #sounds from from the different situation: sound check of the concert VGO at casa do Brasil in 27/2/2011; the sound of the Tejo river; sound inside metro; some improvisations in different places / #Special guess: Carlos Godinho percussion ; Rento djeridu. Thanks José Miguel for borrow the double bass / This piece is part of the series L.I.S.- Lugar de Inoportuno Surrurro. This composition series its based in fieldrecordings from Portugal. Piece was composed at Favu Multimedia Atelier (Brno, Czech Republic) in 19 may 2011. Special thanks for Ondrej Merta, Kovács Balázs, Václav Peloušek, 4AM Fórum pro architekturu a média, alot others from Brno new art Scene
Bob Ostertag: Burns Like Fire. (1992) / Riots, country and western, and gospel. Companion piece to All the Rage. Re-issued in MVORL limited edition in 2001. In October 1991 gays and lesbians rioted in San Francisco when the Governor of California vetoed a gay rights law that had been ten years in the making. The California state Office building was set on fire. I, of course, took my tape recorder. The Kronos String Quartet had commissioned me to write a piece for them, and I decided to transcribe the sounds of the riot for string quartet. I asked writer/artist/film-maker David Wojnarowicz to collaborate on the project by reading one of his texts. David is perhaps the best known of the queer American artists who have redefined gay American culture in an angry, politicized way. I was one of many who felt that David's work expressed my own feelings in a uniquely powerful way. David was already sick with AIDS, and we waited for a time when his health would allow us to do the project. Time wore on, and finally poet Sara Miles stepped in at the last moment and wrote the libretto for the string quartet, titled All the Rage. Soon after David died. His death triggered a spontaneous demonstration in the streets of New York City's lower east side. For my part, I decided to take riot fragments I had not used in All the Rage and make them into a solo piece I would dedicate to David. So this is Burns Like Fire, and this is for David. -- Bob Ostertag / David Wojnarowicz (excerpt from Close to the Knives: Losing Form In Darkness): In loving him, I saw a cigarette between the fingers of a hand, smoke blowing backwards into the room, and sputtering planes diving low through clouds. In loving him, I saw men encouraging each other to lay down their arms. In loving him, I saw small-town laborers creating excavations that other men spend their lives trying to fill. In loving him, I saw moving films of stone buildings; I saw a hand in prison dragging snow in from the sill. In loving him, I saw great houses being erected that would soon slide into the waiting and stirring seas. I saw him freeing me from the silences of the interior life
Brandstifter : is an interdisciplinary artist and networker, tranforming his visual- and performance art, sound and music as well as lyrics by means of social interaction to intermedia. He plays to name but a few with Aaron Moore (Volcano the Bear) in the Greenpoint based project "Wizards of Oi", solo as "Meulenkrach", with the band "The Dass Saegebett" and the improv. project "Watercoloured Well" (both: Germany) and is the co- founder of the open Casio sampling collective "SK Orchestra" with Michael Durek from Jersey City / www.brand-stiftung.net
Bryan Lewis Saunders: http://www.bryanlewissaunders.org / "Carla's Tutor at Nola's Crack House" (excerpt). Remix of an audio cassette tape found in the garbage. March 2012. Headphones recommended to allow for better cognitive processing
Cagey House: Ghost Gardens can be built anywhere and along any cardinal orientation. Obviously, there exist many traditions and practices in ghost gardening—some venerable, some disreputable—and each will demand the use of particular materials and techniques. Some experts will contend that gardens must be centered on an Oak sapling, with a stone gate opening to the North. Others, that Pines are essential, and that shrub gates must face West. However, while these details may indeed affect the type of ghost attracted, all points of technique are moot in terms of general efficacy, i.e. total number of ghosts per unit of time. As long as certain underlying principles are observed, and the garden is constructed thoughtfully and well, ghosts will appear
Chevo Légé: le temps qu'il reste - qu'il reste pour - reste pour prendre - pour prendre le - prendre le temps - le temps qu'il reste
Chilton Taylor Thompson: A Possible End for a Dream by Chilton, Taylor and Thompson. Matt Chilton - laptop / live processing, Benedict Taylor - viola, Daniel Thompson - acoustic guitar
Chris and Dave: Chris and Dave play in the Annexe at The Avant Garde Festival IX in Schiphorst, Germany, June 2012. A chance meeting with Chris at the festival and his enthusiasm to play led to the performance you hear on this survey. We had never heard each other play before and the performance was truly spur of the moment; a very special experience and one to be repeated it is sincerely hoped
Chris Lynn: Film: Journal of Drifting Hours - an edited super 8 film to a much larger project.Images of past summers through the green foliage. Audio: Suzhou Studio. A Field Recording in an art studio in Suzhou, China. 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/
Christophe Guiraud and David Ryan Quartet: SHALE / SCHISTE / I composed this quartet, into the soul, during a long period, before writing it. and just after a "meeting" with a painter-musician, David Ryan, i decided to write a very abstract form into a deep, solid and shaking brightness sound, almost fixed, never by the musical-rhythm, but more by the wild pulse, like of shimmering reflections into a solid circle of water, or more (in a macro view) how the time affect the stones, their mobility into what we call "the événement" ("happening"), ...how we sense this mobility, as the longest thing into our time perception, ...however the "événement" grow-up. Maybe the sound teach to men, the extremely contrasted thing into the phenomenon indistinguishable and dense, an explosion into silences;
On stones, sometimes, we can read the traces, the proof, of a "time sound", the result of a crossed passage by the longest periods than it, "singing of times" by the opposite contrasts of the "événement". "opposite contrasts" as the cells sounds of each instrument (written like cells on the paper), with their "time" and "resonant forms", encounter with the sound solid tape and her fluid resonator sounding, the images traces as a "pulse direction". 3 elements are the real base of the pièce: sounds-instruments, sounds tapes, and traces each have their "sonic-time-independance". Merge into a sort of a nodal point as the event. The piece was played at Kettle's yard morning music Cambridge (UK), 19/02/12, by the David Ryan Quartet: Ian Mitchell - clarinets, David Ryan - clarinets, Alison Blunt - violin, Joe Zietlin - cello + tapes / http://christopheguiraud.blogspot.fr/ http://soundcloud.com/david-ryan http://lagriveextraitssonores.blogspot.fr/ http://tempsactualiteslagrive.blogspot.fr/
http://lagrive.blogspot.fr/
Christophe Guiraud and Ensemble La Grive: HELICAL - Fosses à Oiseaux (Mvnt 12): Complete Open-form Score for (towards) Christian Wolff. For 3 to 9 musicians. Minimum 3 strings and free orchestration for the rest. Always specific Scordaturas for Strings. Strong Nodal point between "silence" and "sounds", when silences are sounds and sounds are silences. Into an Helicoidal choice of sounds-sentences or "événements". The piece was played at the Abside festival 2012 in Belgium, by the Ensemble La Grive (Strings + Winds + percussions + Objets-sonores) / http://fossesaoiseaux.blogspot.fr/ http://evenementslagrive.blogspot.fr/2012/05/photobucket.html http://lagrive.blogspot.fr/ http://lagriveextraitssonores.blogspot.fr/ http://christopheguiraud.blogspot.fr/
http://tempsactualiteslagrive.blogspot.fr/
CP McDill: I am one of those who went to art school but instead got into music. In 2003 I started a sound art netlabel called Webbed Hand Records (webbedhandrecords.com) which at the present time offers over 200 free downloadable albums of ambient and experimental music. It is a very shoestring operation, not for profit, with contributions from donors helping to cover the expenses of keeping this mission alive. I'm involved in the following recording projects: Saluki Regicide, Djinnestan, Akashic Crow's Nest, Rowboat Magicians, Tree Helicopter, Drone Wallah, Ice Guild Kaiser and assorted things in my own name and as part of collaborations. I'm starting to lose track of my discography but I'm sure it's passed 50 albums, not including compilations. Maybe by the time I reach 80 albums I'll have learned how to play some actual instruments. ;)
Crush!!!: Mark Browne / Ian Smith / Sonic Pleasure
Donovan Hyatt Sykes: Made by Anthony Donovan, John Hyatt and Lewis Sykes in August 2012
Elizabeth Veldon: http://elizabethveldon.bandcamp.com/ http://blackcirclerecords.bandcamp.com/ http://elizabethveldon.wordpress.com/ elizabethveldon@yahoo.co.uk
Espron: We started working on this in one session of 2008. We didn't meet again for more work until 2010, and in 2011 the last bits came together. Most of the work was done in the cabin of Lunheim. All sounds by Espen Wærnes and Ronny Wærnes
ET: Duo comprising Tomás Tello and Elisabeth Flunger, based in Luxembourg
Evan Parker and konstruKt: http://evanparker.com/ http://konstruk-t.com http://myspace.com/konstruktist http://twitter.com/konstruKt
Feeding Goats: We improvise by listening to each other. We play various instruments, in this case synth, guitar, theremin and marimba. We follow no rules and we try to break any habits that may develop. It is not that we do not use our critical faculties, it is just that we first create and later critic. / Feeding Goats 2012
Fluorescent Grey and Thorsten Soltau with Marina Stewart: There is a reason for Marina to use the sample from MOTHER, the computer coordinating all activities in Ridley Scott's ALIEN. When she
started to work on the piece, she was interested in the feelings for safety and love in the mentioned movie. Her approach was to create a dense structure of loneliness in space, without using the (widely) acoustic cliche of sadness and sorrow to illustrate emotionally strong visual elements. This is not a soundtrack - this is more a piece for a place right under the moon, without the sight of any human life. The title of the track is more a ferocious joke, trying to create even a feeling HOW the piece might sound before the listener actually listens to it. Thorsten Soltau, august 2012. further infos: mmarinastewart.tumblr.com
Gburek Ossowska: On the Ashes of Bruno a Light Too Late Rain / Jeff Gburek/ Karolina Ossowska). Electric Guitar, Field Recording, Violin, Snare Drum. Recorded on August 10, 2012 in Firenze, Italia / http://www.futurevessel.com/orphansound / http://soundcloud.com/jeff-gburek
Graham Dunning: is an artist working in sound, installation and performance. This recording is part of a series of live, improvised recordings made by live sampling found tapes via walkmans, alongside small cassette tape loops. http://grahamdunning.com
Gurdonark: I am attracted to the overlooked geography--the place by-passed by the highway, the forgotten lane, and the unused park
Guy Harries: Achilles Vandalismus / London-based composer/performer/sound artist / www.guyharries.com / Achilles Vandalismus => analog rhythm non rhythm gut
Herr Penschuck: ein migrantisches trüffelschwein ?im historischen prozess. ?a migrant bastaerd truffle pig ?digging in the historical process.a migrant bastaerd truffle pig digging in the historical process.
unfälle im haushalt - #03 „bedenklich“ is based upon lecture performances taken from german safety dictionaries for private households published in the late 1960s - human safety that also ran out of control on march 11th in 2011. this classwar edit is the first to be published as a pre-release of the album DOMESTIC DESASTERS / www.herrpenschuck.eu /
Herve Perez: track: 1.95 shakuhachi improvisation recorded on 01 06 2012 in the St Antoine de Galamus hermitage cave / bio: Hervé Perez is a sound artist/composer from France, now based in Sheffield, UK. he works across genres, drawing from many influences in jazz, electro-acoustic music and experimental sound art. playing the soprano saxophone, hervé focuses on extended techniques and abstract peripheral sounds structural to the instrument, culled from his exploration of computer based electronics and sound design. he started playing the shakuhachi a year ago, drawn to its unique sound but also by japanese philosophy and the history of the instrument which is bathed in meditation and communication with the landscape. Sounding out, one of his current projects is an exploration of architecture, outdoor acoustics and sacred sites. these recordings of the saxophone or shakuhachi are documents of in situ improvisations, inspired by the spirit and the special characteristics of a location / links: main website: www.spacers.lowtech.org/herve / acoustic sax: http://soundcloud.com/herveperez / electroacoustic music: http://soundcloud.com/sndsukinspook / other site with audio, visual and text work: http://sndsukinspook.wordpress.com
Hyaena Fierling Reich: (Born Portugal, 1977) / track contributed: Dog Day Sunrise / possible lyric: the whole night I roamed the streets alone when dawn broke the vast streets weren't empty no more I watched people zip by all far away cruel, distant ants but a stray dog approached me and with his soft muzzle smelled my blue hands in his tender and lost eyes the vagueness of a smile
Hyatt and Pearson: [...]
Izumi Yamamoto: I'm 22 year old half japanese half german guy / http://soundcloud.com/mountain-spring
Jaan Patterson and Alessandra Celletti: we dive into cover, restless i open my eyes in search for you. the pain of the unseen- effects last way to walk under the ceiling of cracked desire.life seems empty without death when spoiling the wood! Zaro Ostrich Lunch
Jared C. Balogh: How Will This Lift / Contact: http://www.alteredstateofmine.net
Jeanette Luchese: As a visual artist, I explore concepts of same and different pushing past the divide exposing what lies below. In taking the traditional disciplines of drawing, painting, and printmaking further artistic cross-pollination in adding audio components to my work, I liken to experimental jazz. An interest in creating an alternate translation to "what lies below” (the silent sensory dialogue of my art) led me towards using the postscript code of a jpg image of my art. Parsing the code through a music generator converts numbers into notes based on the theories of John Cage. Importing the files into Garage Band I further tweak the beats per minutes, adding and adjusting vibrato and echoes: basically playing with it until it feels right, as I haven’t any learned skills in creating music. You probably can’t dance to it but it is sure meditative. The Great Escape in C major is a 5-minute snippet of the sound art file that is over an hour long, which is only a small portion of the original image jpeg postscript that is hundreds of pages long. Enjoy. Jeanette Luchese / http://www.jeanetteluchese.com / Download free sound snippets at http://soundcloud.com/jeanetteluchese / Inspired by works of John Cage, the Fluxus Movement, E.A. T., (Experiments in Art and Technologies) and Peter Kirn, spam into MIDI notes: from a video clip of the talk on South by Southwest: Data as Art : Musical, Visual Web APIs and Fred Forest. Open source technologies of P22 MTCG - *Designed by Colin Kahn from an idea by Richard Kegler. A P22 venture / ARTIST STATEMENT: Findings... I live a life of simple rules and the results at times are so complex it makes my head spin. Current work expandsinterests in the links between simplicity, order and chaos informed and inspired by 20th Century Mathematician Alan Turing’s and Physicist Jim Al-Khalili’s revelations that the wonders of creation derive from the simplest of rules, that chaos is everywhere and unpredictability is hard-wired into every aspect of the world we live in / Artist Statement / An interdisciplinary artist through intertwining and cross-pollinating I explore possibilities expanding traditional practices, harmonizing the divide towards a holistic focus. My art is underpinned by queries of perception embroiled within theoretical sciences. I create intuitively, exploring like a surrealist through experimentation, intuition and spontaneity, in a fusion of emotion and art-medium experimentation using anything that comes to hand, much like the Fluxist I like to see what happens. Through observing and feedback: seeming randomness, chance, and disorder reveals new forms of order, self organizing, disorder and order coexist. Over time the sensory expressionistic discourse of my creations has evolved, mutating to a repetition of symbols and manipulation of the “known” from irregular viewpoints creating engagement and dialogue with reality; both inner and outer aspects of reality in the same moment: more a meeting of minds. The seeking, seeing, sensing of order in the midst of disorder, finding simplicity within chaos, chaos within simplicity, the expression of the sense of pattern, harmony and symmetry synthesized from the immediate, ambient confusion pushing past the divide exposing what lies below. Patterns are everywhere; feedback gives rise to both order and chaos and evolves to pattern formations that are deeply woven into the fabric of our world. Mutations create new translations, retaining what is important the cycle begins again. Sound Art - Issues in the silent dialog of a sensory language lead to a need for clariety and an alternate translation: an audio component I liken to experimental jazz / Bio: Jeanette Luchese is a visual artist, art educator, and professional graphic designer, residing in Innisfil, Ontario, Canada creating within interests in painting, printmaking, drawing, sound art and sculpture. An honor graduate of School of Design and Visual Art, Georgian College (2008) and Sheridan College School of Design (1976). Recipient of the "Excellence in Art, Studio Award" in 2008, 2009, and in 2009 BAC Excellence in Art Award. Currently participating in “HUMAN RIGHTS” 2012, Italy and “The Bluewater International Sculpture Exhibit (2010- 2012)”, curated by John Sauve, with sculptures in Port Huron, Michigan U.S.A and in Sarnia, ON Canada:(2009 - 2012). Previous exhibitions include, Works on Paper at Art11 - Montreal, A Group Exhibition presented by Gallery Moos Toronto, curator Rupert Young and “21st Century Abstraction”: A Group Exhibition, Ferneyhough Gallery North Bay, Ontario, Canada. A first generation Italian, born in Toronto, Ontario Canada: The energy and vigor of my heritage echoes within my transfigurations sensing an affinity to aspects of the historical theories of the futurists: Giacomo Bala’s vibrational energies, Carlo Carrà’s paintings of sounds, noise and smells and Luigi Russolo’s art of noise
Johannes Bergmark: To this crime we plead guilty / Duration: 8'49 / Instruments: Metal Harp, Platforms for amplified objects, saw / Recorded at EMS 2012 / Links: http://bergmark.org/metal
http://bergmark.org/platforms http://bergmark.org/saw http://www.elektronmusikstudion.se
John Hyatt and Lucy Wright: A collaboration between John Hyatt (The Three Johns - http://www.threejohns.co.uk/) and Lucy Wright (Pilgrim's Way - http://www.pilgrims-way.net/). Copywrite, John Hyatt and Lucy Wright, August 2012
John Hyatt and M4SK 22: Frozen Charlotte by John Hyatt and M4SK 22. Sound and vision by John Hyatt, David Moss and Simon Woolham. With Mallory Cerise as Charlotte
Jukka-Pekka Kervinen: is a Finnish composer, writer, publisher and visual artist. Aka d0x10, Ganglion Cyst, Baden Dangit, Bo Lit and cR-teK, among others / Title: small gestures #4a / Instruments: for flute, marimba, vibraphone, viola and electric bass / Composer: Jukka-Pekka Kervinen / Year: 2012
Justin Wiggan: [...]
Klang Zvuk Som: Savage Song / Klang Zvuk Som is Ooori Shalev, José Lencastre, Luis Vicente and Blu Simon Wasem
Kommisar Hjuler and Cody Brant: To end all life
Konstrukt, Peter Brötzmann, Hüseyin Ertunç and Dogan Dogusel: Part 2 from EKLISIA SUNDAY / http://www.peterbroetzmann.com/ http://www.eksisozluk.com/show.asp?t=h%C3%BCseyin+ertun http://www.last.fm/music/H%C3%BCseyin+Ertun http://konstruk-t.com http://myspace.com/konstruktist http://twitter.com/konstruKt /
Leif Elggren: In the voodoo doll’s tunic is a hidden mechanism. A small metal blade sensitively registers the variations of the weak electric impulse. This also gives rise to a kind of glimmer on the tip of each needle that is stuck into the doll’s body. It is a most curious mechanism. It conducts fear away from the wishes of the perpetrator. It conducts dread away from the body of the victim / www.leifelggren.org
Lezet: For all the consonants in it, "Smrt" is still a word of female gender
LIL Moonroom Sin Senal: STUDNIA / This track is in effect a collaboration between 3 musical projects. People involved are : Marcin Tomczak (LIL) - kbds, mix; Krzysztof Buzow (Moonroom) -clarinet, kbds, voice, mix; Marta Bochenek (Moonroom) - flute,voice; Kinga Wieliczko (Sin Senal) - voice; Mariusz Wieliczko (Sin Senal ) - electronic and acoustic effects; Martyna Kolodziej (guest, age 13) - vocal
MaCu_Murmurists: Made by Susanne Hafenscher (MaCu) and Anthony Donovan (Murmurists) during July and August 2012, especially for 0019 survey of Classwar Karaoke. For more by Susanne: http://macu1.wordpress.com/ http://soundcloud.com/macu http://modisti.com/network/members/macu/ http://twitter.com/MaCu1 http://www.discogs.com/artist/MaCu / For more by Anthony: http://murmurists.blogspot.com http://soundcloud.com/anthony_donovan http://anthonydonovanbiog.blogspot.com/
Maja Jantar: http://www.myspace.com/majajantar / Maja Jantar is a multilingual and polysonic voice artist living in Ghent, Belgium, whose work spans the fields of performance, music theatre, poetry and visual arts. A co-founder of the group Krikri, she has been giving individual and collaborative performances throughout Europe and experimenting with poetic sound works since 1995. Jantar often collaborates with the theatre company Crew, a group operating on the border between art and science, performance and new technology, as well as with actor and director Ewout d'Hoore. She regularly performs with Belgian poet Vincent Tholomé, with whom she has also given workshops on the use of language and sound. Recently, she performed with Vincent Tholomé and Sebastien Dicenaire at the Centre Pompidou in Paris for the Bruits de Bouche Festival. From 2001 to present, Jantar has directed ten operas, including Monteverdi's classic Incoronatione di Poppea and Sciarrino's contemporary Infinito Nero. Some of her visual poetry has appeared in various publications, amongst others Zieteratuur (The Netherlands), and her visual work has been shown in several exhibits, recently an ink-and-paper selection from her "Lilith" series could be seen at Kunsttempel Kassel (Germany). In the near future she will continue collaborating extensively with Canadian poet and interdisciplinarian a.rawlings and she will soon be publishing a CD and art book of her visual and audio work with Hybriden Verlag in Berlin
Mat Gabo: matgabo@rocketmail.com
Melle Hammer and Jaap Blonk: Film by Melle Hammer, 1996 / Sound by Jaap Blonk, 2012 / Originally a 16mm film / Mirandabad, Amsterdam / Camera: Mark de Cloe / Lighting: Marc van Gelder / Grip: Harmen Liemburg / Thanks to Johan van der Keuken for materials and laboratory time / "Sapvezikilo" is Esperanto for "Blowing Bubbles"
Miquel Parera Jaques and Computadora: nxH29-2012-07-04 23 59 29 /Miquel Parera Jaques + Computadora / July 20, 2012 / I am peace multiplied by three, whooping hidden odors and dim lights.
Jo sóc una pau multiplicada per tres, olors amagades que criden i llums tènues. Yo soy una paz multiplicada por tres, olores escondidos que chillan y luces ténues.
Murmurists: You know, of course, that I am the King of Nigeria, and that until we meet, I am soaking wet, in some hintertland, awaiting your email
Mutate: Mutate is the solo sound project of Ade Bordicott. This MUTATE project is continually evolving, wherein I can express myself very much how I please, as long as I feel it works, that last point being crucial. So it can be many things. Improvisation is important in much of what I do, but there are no fixed rules. If there is any sort of agenda, then it has it's roots in the punk ethic. I use instruments to generate sounds, mainly because this is how I am most comfortable. I find instruments a very effective way of introducing that most important element - chance.As much as I enjoy the scope that working in a studio environment gives me, I feel that live performance is all. Bring on the happy accidents... / mutate.org.uk
Nick Hennies and Sean O'Neill: Clots is a large-scale collaborative composition/installation by Nick Hennies (percussion, concept/composition) and Sean O'Neill (electroacoustic sound, objects). A full performance can last anywhere from an hour to several days. The music explores repetition, meditation and immersion as it relates to "everyday life" by translating aspects of physical labor into a musical/artistic context. In this excerpt (taken from a forthcoming album release) the percussionist performs on vibraphone and a set of custom-made metal "chimes" designed and built by Travis Weller. Nick Hennies is a percussionist and composer from Louisville, KY currently residing in Austin, TX. His work is primarily concerned with redefining and re-purposing the role of traditional percussion instruments through repetition, meditation, and immersion. He received his M.A. in percussion from the University of California-San Diego in 2003 where he studied with renowned percussionist Steven Schick and currently performs with The Weird Weeds, Waco Girls, the Austin New Music Co-op, and a new percussion trio with Greg Stuart and Tim Feeney. In addition to solo work Hennies has collaborated with Arnold Dreyblatt, Radu Malfatti, Jandek, Charles Curtis, Ellen Fullman, Michael Pisaro, and many other composers and improvisers from the United States and abroad. His work as both performer and composer can be heard on Quiet Design, Senufo Editions, Sentient Recognition Archive, Full Spectrum, Roeba and more. Notable appearances include the Indianapolis Museum of Art, the Blanton Museum, No Idea Festival, Festival Agora (Paris), and the LA Philharmonic's Green Umbrella Series. Sean O’Neill is an artist working with sound, found materials, and visual components. He studied electroacoustics and digital media at Concordia University in Montreal, with particular interest in using aspects of both analog and digital technologies. O'Neill has had performed and presented installations at various venues and festivals around the world including Ice Hotel Sweden, La Nau Digital Media Festival in Valencia, and the Re-New Festival in Denmark
Nissim Schaul: Cyclictych is an arrangement and recomposition of the 5th and 7th movements of the Wedge Miniatures. The Wedge Miniatures, which I wrote for oboe and piano, are very long when played together, so I took this as an opportunity to "liberate" some of the music from the rest of that massive piece. The two movements I chose to rebuild, the slow and quiet ones, also represent the beginning of the compositional path I've been following since 2007. I started with two movements and ended with three: I split the old 7th movement in two, putting one half at the beginning of the piece and the other half at the end. The result is sort of like a triptych (an association impossible to ignore when writing for the uber-religious organ), but cyclical instead of linear and narrative. The made-up word Cyclictych has a nice tripartite but cyclical look and sound, too. The performers on this recording are Miriam Kapner (oboe) and Frank Perko III (organ). It is a live recording from the premiere of the piece at First Plymouth Congregational Church in Englewood, CO. My special thanks to Miriam for requesting this work, and to Vincent Decleire for his help understanding the organ
Noise Research: [...]
Oblivian Substanshall: http://freemusicarchive.org/music/Oblivian_Substanshall/ http://www.myspace.com/obliviansubstanshall
Pablo Orza: Schizo-anal-ysis series for Electric-Guitar. The track was recorded live (july 2011). No post edition
Painburn: Jam of thrash-death metal notes that move the soul from the hell to limbo. Serial Guitar is a way of communicating anger by guitar. Let's listen!
PAS and Anton Mobin: PAS presents: What's Behind Time : Experience 3 of 6: "Form From Light Waves" Audio: Anton Mobin / For Classwar Karaoke?Robert L. Pepper (PAS) / Additional wandering sample....PAS / A series of 6 audio/visual experiences. The video was processed first and then the audio was added later by different artists. The video was left open to their own interpretations in the form of sound. Each video is presented separately on different links. But the presentations work as a series from beginning to end of 6 experiences exploring the below text. "It's hard to explain with words. Some explanations should be left to experience. The meanings of life are not verbal, they are felt. To express deep meaning I must communicate with visuals and sound without language. I must make a film. Colours and audio vibration, to entrap the viewer in mood, in feeling. The viewer exits after experiencing the screen with understanding and not with words. If words are used they are abstractly used for their vibrations of sound adding to the experience of art, of presentation. I leave to you "me," in vision and in sound. I leave to you a memoir of my life, in vision and in sound. I leave to you a film of my soul. Alan Watts once mentioned that people once experienced things and then made words to describe them, now they make words before experiencing them. Let's avoid words, let's have pure experience of sound and vision."
PAS and Laetitia Schteinberg: PAS presents: What's Behind Time : Experience 5 of 6: "The Organic Animal Materializes" Audio: Laetitia Schteinberg / For Classwar Karaoke?Robert L. Pepper (PAS) / Additional wandering sample....PAS / A series of 6 audio/visual experiences. The video was processed first and then the audio was added later by different artists. The video was left open to their own interpretations in the form of sound. Each video is presented separately on different links. But the presentations work as a series from beginning to end of 6 experiences exploring the below text. "It's hard to explain with words. Some explanations should be left to experience. The meanings of life are not verbal, they are felt. To express deep meaning I must communicate with visuals and sound without language. I must make a film. Colours and audio vibration, to entrap the viewer in mood, in feeling. The viewer exits after experiencing the screen with understanding and not with words. If words are used they are abstractly used for their vibrations of sound adding to the experience of art, of presentation. I leave to you "me," in vision and in sound. I leave to you a memoir of my life, in vision and in sound. I leave to you a film of my soul. Alan Watts once mentioned that people once experienced things and then made words to describe them, now they make words before experiencing them. Let's avoid words, let's have pure experience of sound and vision."
PAS and Murmurists: PAS presents: What's Behind Time : Experience 6 of 6: "Souless Artifical Lifeforms" Audio: Murmurists / For Classwar Karaoke / Video Direction and Edit by?Robert L. Pepper (PAS) / Additional wandering sample....PAS / A series of 6 audio/visual experiences. The video was processed first and then the audio was added later by different artists. The video was left open to their own interpretations in the form of sound. Each video is presented separately on different links. But the presentations work as a series from beginning to end of 6 experiences exploring the below text. "It's hard to explain with words. Some explanations should be left to experience. The meanings of life are not verbal, they are felt. To express deep meaning I must communicate with visuals and sound without language. I must make a film. Colours and audio vibration, to entrap the viewer in mood, in feeling. The viewer exits after experiencing the screen with understanding and not with words. If words are used they are abstractly used for their vibrations of sound adding to the experience of art, of presentation. I leave to you "me," in vision and in sound. I leave to you a memoir of my life, in vision and in sound. I leave to you a film of my soul. Alan Watts once mentioned that people once experienced things and then made words to describe them, now they make words before experiencing them. Let's avoid words, let's have pure experience of sound and vision."
Pass and Onewayness: PAS presents: What's Behind Time : Experience 1 of 6 "Mind Before Matter:Thought" Audio onewayness / For Classwar Karaoke / Video Direction and Edit by?Robert L. Pepper (PAS) / Additional wandering sample....PAS / A series of 6 audio/visual experiences. The video was processed first and then the audio was added later by different artists. The video was left open to their own interpretations in the form of sound. Each video is presented separately on different links. But the presentations work as a series from beginning to end of 6 experiences exploring the below text. "It's hard to explain with words. Some explanations should be left to experience. The meanings of life are not verbal, they are felt. To express deep meaning I must communicate with visuals and sound without language. I must make a film. Colours and audio vibration, to entrap the viewer in mood, in feeling. The viewer exits after experiencing the screen with understanding and not with words. If words are used they are abstractly used for their vibrations of sound adding to the experience of art, of presentation. I leave to you "me," in vision and in sound. I leave to you a memoir of my life, in vision and in sound. I leave to you a film of my soul. Alan Watts once mentioned that people once experienced things and then made words to describe them, now they make words before experiencing them. Let's avoid words, let's have pure experience of sound and vision."
PAS and Rune Martinsen: PAS presents: What's Behind Time : Experience 4 of 6: "Plant Life Nervous System" Audio: Rune Martinsen / For Classwar Karaoke / Robert L. Pepper (PAS) / Additional wandering sample....PAS / A series of 6 audio/visual experiences. The video was processed first and then the audio was added later by different artists. The video was left open to their own interpretations in the form of sound. Each video is presented separately on different links. But the presentations work as a series from beginning to end of 6 experiences exploring the below text. "It's hard to explain with words. Some explanations should be left to experience. The meanings of life are not verbal, they are felt. To express deep meaning I must communicate with visuals and sound without language. I must make a film. Colours and audio vibration, to entrap the viewer in mood, in feeling. The viewer exits after experiencing the screen with understanding and not with words. If words are used they are abstractly used for their vibrations of sound adding to the experience of art, of presentation. I leave to you "me," in vision and in sound. I leave to you a memoir of my life, in vision and in sound. I leave to you a film of my soul. Alan Watts once mentioned that people once experienced things and then made words to describe them, now they make words before experiencing them. Let's avoid words, let's have pure experience of sound and vision."
PAS and Use Other Door: PAS presents: What's Behind Time : Experience 2 of 6 "Cosmic Dust-The Second Pulse" Audio: Use Other Door / For: Classwar Karaoke / Video Direction and Edit by Robert L. Pepper (PAS) / Additional wandering sample....PAS / A series of 6 audio/visual experiences. The video was processed first and then the audio was added later by different artists. The video was left open to their own interpretations in the form of sound. Each video is presented separately on different links. But the presentations work as a series from beginning to end of 6 experiences exploring the below text. "It's hard to explain with words. Some explanations should be left to experience. The meanings of life are not verbal, they are felt. To express deep meaning I must communicate with visuals and sound without language. I must make a film. Colours and audio vibration, to entrap the viewer in mood, in feeling. The viewer exits after experiencing the screen with understanding and not with words. If words are used they are abstractly used for their vibrations of sound adding to the experience of art, of presentation. I leave to you "me," in vision and in sound. I leave to you a memoir of my life, in vision and in sound. I leave to you a film of my soul. Alan Watts once mentioned that people once experienced things and then made words to describe them, now they make words before experiencing them. Let's avoid words, let's have pure experience of sound and vision."
Patrizia Mattioli: De la musique, dites-vous; cette nuit serait propice à la musique. mais j'ai là de la musique dans une boite, enfermée comme un de ces génies dans un flacon des Milles et Une Nuits, et toute prête, au premier geste de mes doigts, à s'échapper
Paul Mimlitsch: Painting with sound: Improvisations/ explorations: low range recorders, guitars, clarinets, interactive electronics. ... music without intent / http://soundcloud.com/r369improv
Paulo Chagas: 'The Mystery of the World', created by Paulo Chagas / Music by P.R.E.C. (Fernando Simões - trombone, objects / Mário Malheiros - electronics / Paulo Chagas - oboe / Paulo Duarte - guitar)
Pete Karkut: Dig your Garden / Dig your garden...up Dig Because you want to bury it. Dig your idol up Make the idol up See through the idol eyes Of dangerous plastic Dangerous plastic Dangerous plastic idol eyes Dig your garden up Dig, because you you haven't got a clue What it means for you, and how deep you bury it And what you can do about Dangerous plastic Dangerous plastic idol eyes Its a ll over your cloths Washed into your hair Beaten into you Gone off to war for you In towns of despair With the diamonds you wear. You've got nothing to declare. At the scientific burial. keep keep
Keep There's nothing to keep Keep. Keep Keep. There's nothing to keep you asleep. Dig your garden up Dig Because you want to bury it Deep There's nothing you can keep. The riot police are in your back garden Digging your garden up Let go, Let go, with all of your emotion For the body you can never keep. In your back garden
Peter Thoegersen: I just earned my DMA from the University of Illinois at Urbana-Champaign in composition. I just finished writing a thesis on Polytempic Polymicrotonal music, initially pioneered by Charles Ives in his Universe Symphony, from 1915-1925. I am also a drummer and I am interested in composing in the style of polytempic polymicrotonal music, which serves as an expansion of Ives, and also an expansion of what Xenakis called Outside Time structures, impoverished since the beginning of polyphony, but being replenished today and into the future, due to the resurgence of microtonality and the composer's desire to increase the pitch palette. I am in love with the idea of deliberately pairing tempo to tuning, framing each tuning in relief from its surroundings by different tempos, thus creating an other dimensional musical space. I also write electroacoustic music in ProTools, such as the Bounced Around series, Gorgeous Monstrosity, and Drums of War, and I have a fair amount of drum-set compositions, in particular, 3:4:5:7, where I play four simultaneous meters with a common downbeat, and improvise in each independent meter/tempo. This piece is polytempic. Alien Music features this same drum-set composition and has added parts in different tunings: slendro/pelog, 19-TET, Just, and 12-TET
PIG: [...]
Pixyblink: [...]
Qkcfose: Magnetic Plants was a composition of improvised elements. Plants are magnetic because they cling and burrow into the earth. The earth is a magnetic piano played by the weather, and I am one note within a harp which I seize
Rhys Chatham: Originator of 100 guitar orchestra (since 1989). A Crimson Grail, A Secret Rose, G3, Brass Action (trpt plus rhythm and drums) are the current touring projects. I'm a composer from Manhattan who now lives in Paris, France / http://www.rhyschatham.net / http://en.wikipedia.org/wiki/Rhys_Chatham
Rosendo J. Rocha: Extintion / Audio: Ukulele, Bongo Drums, Fiddle Gong & Acoustic Guitar, Plastic Bottle With Water / http://soundcloud.com/rosendojavier
Ross Ackerman: http://www.youtube.com/user/MrRossleeackerman http://soundcloud.com/aka-man
Ruela Pinho and Murmurists: Our name is *. We could wish you from yourself into an hysterical enthusiasm
Saïtam and Chevo Légé: leur impassibilité face aux évènements : Saïtam - guitare, objets & effets / Chevo Légé - clavier & loop
Sean O'Neill: http://soundcloud.com/soneill-1 /
Seth Guy: Re-Living Streets (Super Textuality Noise Performance) [2012] / Video documentation of a semi-improvised performance at Goldsmiths College, part of a performance-activated installation for my end of first year MFA. Utilising found objects, memories, field recordings and live performers Re-Living Streets… follows from ideas explored in my previous performance Vertical Intertextual Improv (published as part of ClassWar Karaoke 0018) and activated sound sculpture Shonky Tonk [2012]. Made with the kind support of Rose Nolan (Mezzo-Soprano) and Jak Brignell (Strimmer Operator). Seth Guy appropriates, reconfigures and juxtaposes materials to create assemblages which subvert preconceptions about what Sound is. Guy's work challenges expectations of how we listen and engage with sound and to question assumptions toward sound in contemporary art. He works in a variety of media: installation, performance, collage and sound, often utilising voice and/or text. He has worked internationally in both the fields of visual art and experimental sound contributing works to theatre, radio, performances and exhibitions, and collaborating with a range of artists of different disciplines. Seth Guy is 32, lives and works in London, and is currently a student studying the MFA Fine Art at Goldsmiths until 2013 / www.sethguy.co.uk sethguy.bandcamp.com observingsilence.blogspot.com
Smash Hermetic and Moon Gratte: [...]
Sonvol: Audio source: Juliet Dežman & Uroš Rutar (Edited By Sonvol) / Video source: Tomi Blues, Brane Velkavrh, Tovariš Strmoglavljen (Edited By Sonvol) / Sonvol, Sonervol, Zaman Cheh and VeDaKR are 4 names of one person. Since last survey Sonvol has released five singles, Zaman Cheh two EPs and Sonervol one EP. All on net.label Krep productions and net.label Nowaytwowayout on archive.org. On Krep productions there was released one EP that futured all 4 names. Sonvol has released 3 issues of fanzine Krep on Docstoc. And 3 EPs that came with the fanzine. All on archive.org (Lord Havoc, Dirty Fences & PAS). Sonvol also worked on some video material. And created posters for events in local youth centre. http://archive.org/details/krep-netlabel, http://archive.org/details/zenq-sounds, http://archive.org/details/vanzemlja-sounds. Sonvol started to work on 3 new net.labels. One, Krep, futures only Krep fanzine releases, Vanzemlja futures classical music recorded from multimedia site of slovenian radio and music recorded on the tape on boombox. ZenQ futures radio plays and shows about literature. These releases, ZenQ, are in slovenian language
Sound Inhaler: c.2012 / Travelogue 1 / soundinhaler@yahoo.co.uk http://soundcloud.com/soundinhaler www.discogs.com/artist/Sound+Inhaler www.myspace.com/soundinhaler
Spidey Agutter: is David Cunliffe and Anthony Donovan. Piece made during August 2012 especially for 0019 survey
Stadtfischflex and Murmurists: Featuring Uwe Bastiansen / Annie Dee / Zappi Diemaier / Anthony Donovan / Jean-Herve Peron / Cathy Heyden / Tim Hodkinson / Geoff Leigh / Sebastian Negal / Diego Pandiscia / Diego Vinciamelli ... three scenes from many
Stalaktos: Sudden turmoil, Blue non carbonic, Deep screaming permanent wilting point
Steven Pottle and SIFIR: Steven Pottle / Poet and Artist... / "The inky fingers that print the waiting pages I am the holder and release of my peace and rages... I am the creature of what begins inside So I’m walking the book I write..." / Steven's links are: https://www.facebook.com/stevenpottle http://www.stevenpottle.co.uk/ http://www.youtube.com/user/stevenpottle https://twitter.com/stevenpottle / SIFIR (Zafer Aracagok) / links: personal website: http://www.sifiro.com http://www.facebook.com/zaph.arz / Killing oneself is a life-long project, Becoming Sexual of the Sexual / http://www.rhizomes.net/issue17/aracagok.html
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. Stormhat mixes usually treated and pure fieldrecordings with more synthetic sounds. The intention is to submerge the listener in a turbulent but still meaningful vortex of noise and silence. The listener is supposed to gain some kind of pleasure and and maybe irritation out of this experience and eventually become a better and more reponsible human being… I'm unable to decide what is music and what is noise and for me it is probably to sides of the same coin. I think one could call my sound for some kind of abstract psychedelic realism
Sun-Inside: The project was created by Vadim Koval, who live in the city of Donetsk Ukraine, a project originally was created as a group of artists working in an abstract style, after the group disbanded after I left the name and began publishing their music under the name of the sun-inside, when you write music, I use a software synthesizer, sampler, guitar and field notes, am also the founder of the label intirnet picpack http://www.facebook.com/pages/Sun-Inside/108521292566332
The Jazzfakers: From the upcoming release in 2013 called Here is Now
The Knot: is the duo of cellists Tilman Lewis and Nick Storring. Emerging in summer 2006, with allegiance to both form and freedom, they have since embarked on sonic explorations that draw on various folk traditions and experimental musics. The pair love to bend the instrument’s lyricism, drawing not so much on extended techniques as on an array of audacious contra-techniques: preparations/ apparati (practice mutes, hair-clips, clamps, wine corks, mallets, egg beaters, plectrums etc.). They still, however, permit the instrument’s natural beauty to have its place. These sonorities are channeled and combined into single unified textures, and everything from improvised heterophony, to stark contrast. Both Lewis and Storring have been active in various Toronto projects. Storring regularly plays solo under his own name and as member of Picastro, Loom, son jarocho collective Café Con Pan, and of I Have Eaten The City. He is also a composer of chamber and electronic music, and winner of the Canadian Music Centre’s 2011 Toronto Emerging Composer Award. Lewis has recorded with the AIMToronto Orchestra, the Kyle Brenders ensemble, and experimental songsmiths Slim Twig and Clara Engel, and performed with the improvising superband that hosts the Music Gallery’s Compose Yourself events. The pair have appeared together backing Sandro Perri, in a band playing with Doug Paisley, and as part of Aidan Baker’s large ensemble project Liminoid. They have just issued their first release, a split cassette with bassist Aaron Lumley on Toronto's Arachnidiscs, and are currently preparing a full-length for Italy's Radical Matters." Our website: http://t-h-e-k-n-o-t.tumblr.com
The Thud Experiment: The Thud Experiment - Automated Sentiment Mining / An improvised performance 6th July 2012 / Igor’s Roomy Lab coat – kaoss and feedback, Jack Twang – Electronic tonalities, Noel Kidderowski – Bass looping and FX / Mixed and mastered by Jack Twang / Recorded at Elusive Studios
Thomas Fernier: 7 loops : this piece consists of seven loops made from Super 8 movies - each loop demonstrates the passage between two 'fictions'; that is to say that, although repeated in strictly identical fashion, each loop constantly seems to change, to evolve, in terms of movement as well as speed - the length of each loop is not necessarily the same, but the overall time duration of each is always the same (this reminded me of the idea that structured John Cage's 'indeterminacy' work, wherein Cage read texts of different word-length but nonetheless performed each for one minute, no more and no less) - the repetition of each loop creates a cinematic movement that would not exist if projected only once - watching these very short movies several times reveals different aspects of them from one viewing to another, which may appear in the 'subject' of the image as well as on the texture of the film, or a combination of both. / 7 loops : réalisé à partir de films Super 8 - chaque boucle montre un passage d'une "fiction" à une autre - bien que répétée de façon strictement identique, chaque boucle semble évoluer constamment, que ce soit dans le mouvement propre à l'image ou la vitesse de son défilement - la longueur de chaque boucle n'est pas forcément la même, mais la durée de projection de chaque série est toujours la même (ce qui m'a rappelé le principe structurant la pièce "indeterminacy" de John Cage : il lit des textes divers dont la longueur varie, chacun pendant l'intervalle d'une minute, ni plus ni moins) - la répétition de chaque boucle créé un mouvement cinétique qui n'existerait pas si elle n'était projetée qu'une seule fois - le fait de regarder plusieurs fois ces films très courts révèle à chaque fois des aspects nouveaux, qui peuvent aussi bien apparaîtrent dans le "sujet" de l'image que dans la texture de la pellicule, ou encore la combinaison des deux
Trans Atlantic Rage: Some Off Beat Weirdo Realm With Mostly Cloudy Skies And Vultures Soaring In Unseasonably Warm Winter Winds / Contact: http://www.alteredstateofmine.net
Travis Johnson: http://ilsemusic.info/ http://www.etsy.com/shop/travis6johnson
Truckers of Husk (The Failed NASA Experiment remix): Last year I became interested in flirting with remixing just for fun really. It's a strange process though as most of the time I don't actually like the source materials. That doesn't mean I don't like the song/track/artist but rather the 'stems' are usually quite banal in their individual tracks, only achieving their magic in the final mix. I started taking small moments, minuscule details, that somehow transcended the banality of their situation and using these began to form new existences for the materials not necessarily perceived by the originators. Virtual tendencies not actualised in their original form but present none-the-less. The track 'Awesome Tapes From Africa' by Cardiff based 'Truckers of Husk' is a song I'm actually rather fond of so I responded to a 'remix' competition of sorts and this is the result of my efforts. Completed in November 2011 / (Remix) Artist: The Failed NASA Experiment / (Original) Artist: Truckers of Husk / Title: Awesome Tapes From Africa
Tvlasunor: All instruments except drum by Oliv Drum
Uwe Bastiansen: http://www.stadtfisch.com/
Uwe Bastiansen and Xyramat: http://www.stadtfisch.com/ http://www.xyramat.de/
VAGUE: Ellis Hawkins - soprano sax; Chris Smith - drums, post-production, guitars / David Cunliffe said: 'Defined by absence, refined by abstraction'
Xô: Billy Gin / Xô is Blu Simon Wasem and Giorgio Mega
Zilmrah: Numbness In Phases / Lawry Romani: 18 String Guitarwheel, Korg MS-20, Eurorack Modular, Phonogene / Noun 1. Numbness - partial or total lack of sensation in a part of the body; a symptom of nerve damage or dysfunction. symptom - (medicine) any sensation or change in bodily function that is experienced by a patient and is associated with a particular disease 2. Numbness - the trait of lacking enthusiasm for or interest in things generally spiritlessness, apathy, indifference passivity, passiveness - the trait of remaining inactive; a lack of initiative .in-1 a prefix representing English in ( income; indwelling; inland , etc.), but used also as a verb-formative with transitive, intensive, or sometimes little apparent force ( intrust; inweave , etc.). It often assumes the same forms as in- 2 , such as en-, em-, im-3. phase [feyz] Show IPA noun, verb, phased, phas•ing. noun 1. any of the major appearances or aspects in which a thing of varying modes or conditions manifests itself to the eye or mind. 2. a stage in a process of change or development: Each phase of life brings its own joys. 3. a side, aspect, or point of view: This is only one phase of the question. 4. a state of synchronous operation: to put two mechanisms in phase. 5. Astronomy. a. the particular appearance presented by the moon or a planet at a given time. b. one of the recurring appearances or states of the moon or a planet in respect to the form, or the absence, of its illuminated disk: the phases of the moon
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