Electroacoustic Fragments, Improvised Sounds, Weird Songs and Aural Oddities.
00:00 – Resonator Spot.
00:26 – White Noise – Love Without Sound.
03:22 – David Toop – Aether Talk.
06:19 – Jacinta Delaney – Androgynous Vowel Choir Experiment No 3.
07:00 – Ben Bondy – Unpeel w Juracán.
09:00 – Jan Bruyndonckx – Amen.
12:10 – Savvas Metaxas – Magnetic Loops II pt.1.
15:37 – Edberg, Erlandsson, Lisinski – Dissolving Ceremony.
20:10 – Hidden Rung – Another You.
23:15 – Keith Fullerton Whitman – GRM [Redactions] (Part #3).
26:40 – Lasse Marhaug & Jérôme Noetinger – Trk3_GS_GO.
29:35 – Mark Vernon – Permea.
32:08 – Daniel Schmidt – Ongoing.
35:30 – Aseptic Stir – Pressure Limit.
36:30 – Jo Montgomerie – Renew.
43:10 – Philip Jeck – Spool A2.
46:06 – Eugene Carchesio – MONOlive III.
49:05 – Merzbow & Lawrence English – The Long Dream.
52:00 – John Edwards, Steve Noble, Yoni Silver – Heme track 03.
55:05 – Foresteppe – Boundary.
White Noise is an English experimental electronic music band formed in London in 1968, after American-born David Vorhaus, a classical bass player with a background in physics and electronic engineering, attended a lecture by Delia Derbyshire, a sound scientist at the BBC Radiophonic Workshop. Derbyshire and Brian Hodgson, then both former members of electronic music project Unit Delta Plus, joined Vorhaus to form the band. https://en.wikipedia.org/wiki/White_Noise_%28band%29
Following the release of his debut solo album Screen Ceremonies (1995), David turned to a more expansive palate to record his next two LPs. Enlisting the help of a whole host of friends and collaborators who joined him in the Mark Angelo Studios, including the likes of Max Eastley, Toshinori Kondo, Musa Kalamula and Jon Hassell, the two albums share an unabashed openness to new sonic possibilities. https://foamonawave.bandcamp.com/album/pink-spirit-noir-world
Ben Bondy is an expert purveyor of diaphanous ambience and he’s never short on wares. In the past two years the Brooklynite released nearly a dozen albums, all of them essential comforts bearing subtle moods and gentle demeanors, dubby pulses and blissed-out reveries. https://benbondy.bandcamp.com/album/spring
First ever release of concrete and electronic collage works by Belgian underground sound explorer Jan Bruyndonckx. This album contains autonomous compositions, music for film and documentary; all
independently recorded in his private studio between 1958 and 1965.
A small collection of adventurous and mysterious sound evocations with text/poetry (Paul De Vree) recited by Julien Schoenaerts. https://metaphon2.bandcamp.com/album/rails-and-other-tracks
Savvas Metaxas is a Greek musician and sound artist who works in the fields of experimental music, field recordings, and modular synthesis.
Counting more that 15 releases among vinyls, CD’s and cassettes, his music has been released in multiple labels such as Granny Records, Glistening Examples, More Mars, Phinery, Superpang, Otomatik Muziek, Coherent States, Falt and has performed in numerous concerts hosted in experimental art spaces, museums, galleries and venues. https://lineimprint.bandcamp.com/album/magnetic-loops-ii
Edberg, Erlandsson, Lisinski.
XKatedral Anthology I is the first in a series of archival releases dedicated to presenting music by XKatedral affiliated composers working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2010 – 2020.
Four of the works included here were originally released on cassette early on in the label’s history, while the two remaining pieces are presented by the label for the first time. https://xkatedral.bandcamp.com/album/xkatedral-anthology-series-i
Paper Gestures was originally created as an 8-channel sound work at EMS, Stockholm in 2019. The piece is based upon field recordings made across Norway over a 13-year period including sounds of military exercises with tank fire, a road surface stripping machine, breaking panes of glass, high speed trains, ultrasound recordings of stomach noises, wind whistling through vents on the Oslo underground, sliding wardrobe doors, microwaved popcorn, soap suds, bee hives, hand bells and bicycle races. https://glisteningexamples.bandcamp.com/album/-gestures
Cloud Shadows is the third album by the American gamelan composer, Daniel Schmidt. The pieces in Cloud Shadows, which are quite varied and more current than the work represented on his first two albums In My Arms, Many Flowers & Abies Firma, mostly came about each in their own way. For example, the cloud shadows on the mountains of central Nevada, unimaginably old, invited Daniel into their realm, resulting in the opening composition ‘Cloud Shadows’. The composition ‘SEOR’ developed from the daily repetitions of radiation and relief from his cancer treatments. Also, the death of a close friend plunged the composer into deep emotions but ultimately nudged him over a compositional hump, leading to the creation of the ‘Sandy Suite’. ‘A River in Delta’, dedicated to Lou Harrison and John Cage, utilizes chance operations and a poem written by Cage for Harrison’s 60th birthday. https://recitalprogram.bandcamp.com/album/cloud-shadows
Aseptic Stir is a new project of the Berlin-based artist Alexandra Zakharenko, whose debut on Klammklang is an examination of sound by means of bodily practices. In ‘Year of Detachment’ she presents the intimate diary of self-study that transcends boundaries and exposes vulnerability through music, voice and movement, creating a subtle medium for desires to emerge. https://asepticstir.bandcamp.com/album/year-of-detachment
An elegant decay amassed from the sounds of detritus. That may be an apt introduction to the work of Jo Montgomerie. Of course, The Helen Scarsdale Agency has a long standing infatuation with disintegrated sound in various forms. So, it makes perfect sense we should publish her work! That said, Montgomerie has a fascinating strategy to her long-form smears of blackened mascara ambient and smoldered noise. As a teenager she was a classically trained musician with an eye towards a career as a concert pianist; but a bad audition may have closed that door yet it opened another in her career in sound design, foley work, and post-production. It may be of note to some, that she was an uncredited soul responsible for thousands upon thousands of audio clips rendered for Boomkat during a lengthy tenure at that institution. These forms of production and editing necessitate a flawlessness which also hides the process entirely; and Montgomerie began to ruminate on that which was left on the cutting room floor (or the digital version of such a space). And thus, she took these unwanted sounds, telescoped them into sinewy drones, forced them to collapse in a crucible of noise, and even rarified their essence into fluid harmonic tones. https://www.helenscarsdale.com/published/montgomerie-fromindustry.htm
Philip Jeck works with old records and record players salvaged from junk shops turning them to his own purposes. He really does play them as musical instruments, creating an intensely personal language that evolves with each added part of a record. Philip Jeck makes geniunely moving and transfixing music, where we hear the art not the gimmick. https://datworm.bandcamp.com/album/spool
Merzbow & Lawrence English.
On their first official collaboration, Japanese noise pioneer Masami Akita aka Merzbow and Australian sound sculptor Lawrence English present a harrowing, surrealist portrait of nocturnal industrial activity, spawned by field recordings made in a sprawling factory complex seven hours north of English’s home in Brisbane. He characterizes the area as “uneasy and unsettling,” awash in the sickly glow of smelters and refinement machinery, somehow not of this world – a liminal quality vividly captured in Andrei Tarkovsky’s sprawling purgatorial opus, Stalker, to which the title alludes. Akita, too, described early drafts of Eternal Stalker as feeling “like the soundtrack to a dystopian science fiction opera.” A mood of mechanical dread and ruined futures permeates each of the album’s seven potent compositions. https://lawrenceenglish.bandcamp.com/album/eternal-stalker
John Edwards, Steve Noble, Yoni Silver.
At an empty Café Oto during COVID Lockdown in April 2021, three of London’s foremost improvisers recorded seven tracks which reflect their inventive approach to free improvisation. Building on Steve Nobel and Yoni Silver’s previous work together as a duo on HOME, they were joined by the inexhaustible talents of double bass player John Edwards. Steve and John are no strangers to each other and, with Yoni’s talents for invention with the bass clarinet, the trio have pieced together a freshly textural and teasingly explorational set of tracks. Noble’s powerful and shape-shifting percussion underpinning and interlocking with Edwards’s bass, pushing the sound into fresh territories.; Silver’s masterful and ever innovative clarinet weaving and breaking new ground for the trio to explore. https://shrikerecords.bandcamp.com/album/heme