00:00 – 00:32 electronic frequencies tune 32″.
00:32 – 10:36 Audio Chandelier-FIELD 10’04”.
10:37 – 17:55 Council 64 7’18” with Chuck Bettis.
17:55 – 30:23 Flatlands 12’28” with Chuck Bettis.
30:26 – 42:13 Petals 11’46” with Martin Speicher and Hans Tammen.
42:14 – 48:42 droneTal 6’28”.
48:46 – 56:15 loop 113 7’28”.
56:18 – 59:24 silver distance 3’06”.
59:26 – 59:58 electronic frequencies tune 32″.
Biography & track info:
Dafna Naphtali is a singer, instrumentalist and electronic musician, who composes and performs experimental, interactive electro- acoustic music and has been doing so for 20+ years, programming her own Max/MSP instruments for live sound processing of the voice and other instruments, as well as works for multi-channel audio and musical robots. She draws on an eclectic musical background in jazz, classical, rock and near-eastern music, and as performer she also interprets the music of Cage, Stockhausen and contemporary composers, in a large variety of projects with well- regarded musicians around the world.
Dafna has received fellowships and awards including from New York Foundation for the Arts (2013 Music/Sound, 2001 Computer Arts), New York State Council on the Arts, Franklin Furnace, American Composers Forum, Foundation for Contemporary Arts and American Music Center, and a recent residency at Signal Culture in Owego, NY for programming and new video synthesis experiments.
Dafna has recorded several CDs, including “What is it Like to be a Bat?” a digital punk trio with Kitty Brazelton (Tzadik). Dafna is currently completing work on her next release “Machines & Memory” with her commissioned pieces since 2010—including “Panda Half- Life” (for vocal sextet and interactive electronics, commissioned by American Composers Forum), “Marching Men” (voice/chamber group/live electronics, commissioned by Brecht Forum) and Robotica (voice/ LEMUR music robots, created with support from Franklin Furnace Fund and Harvestworks, and recently presented in an expansion at Avant Music Festival/NYC March 2016).
Audio Chandelier: FIELD (2014).
by Dafna Naphtali.
— stereo version of originally 12-channel piece created for USAP (Urban Solar Audio Plant) for their installations in Berlin during July 2014 (named FIELD for presentation at Templehof). “Audio Chandelier” is a collection of multi-channel sound pieces that are performative, or installations, or something in between, as well as laptop and iOS ensembles.
More info about Audio Chandelier projects: dafna.info/multi-channel-sound/
by Dafna Naphtali + Chuck Bettis. (Chatter Blip, 2013)
— Chatter Blip is a duo performance piece by Chuck Bettis (electronics/voice and Dafna Naphtali (electronics/processing/voice) — an interstellar multi-character audio operetta involving a multitude of human, alien, and machine voices, in a mash-up of primal and classic sci-fi and electro-acoustics. https://handaxe.bandcamp.com/album/chatter-blip
by Dafna Naphtali, Martin Speicher, Hans Tammen.
(Mechanique( s) Logos, 2014)
— Mechanique(s) is an ongoing collaboration between Dafna Naphtali, Hans Tammen and Martin Speicher involving live electronics, endangered guitar, reeds and voice. The trio was formed to investigate the overlap of various elements of their technical and aesthetic practices — in compositions and improvisational settings for Naphtali’s interactive processed sound/noise system, Speicher’s extensive sound palette of extended techniques on saxophone, clarinet and bass clarinet, and Tammen’s mechanical and electronic manipulations for guitar.
Hans Tammen calls his style of performance “Endangered Guitar,” because of the extreme alterations he enacts upon his instrument’s sound and construction. Signal To Noise called his playing “…a killer tour de force of post-everything guitar damage”.
Multi-reed player Martin Speicher has his roots in contemporary classical music as well as in Free Jazz. Since his early concerts in the 80s he performed with Paul Lytton, Evan Parker, Barry Guy, Cecil Taylor, the London Jazz Composer´s Orchestra among others. “Signal to Noise” wrote about him: “Speicher’s (excellent) clarinet playing recalls Boulez’s “Domaines” one minute, Peter Brötzmann the next.”