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
20120526
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 : 01.43.71.89.40 ), 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
http://johnhyatt.bandcamp.com/
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/
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 : 01.43.71.89.40 ), 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
http://johnhyatt.bandcamp.com/
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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