Electroacoustic Fragments, Improvised Sounds, Weird Songs and Aural Oddities.
00:00 Resonator Spot
00:28 Marina Rosenfeld – Formal Arrangement
02:22 Toshimaru Nakamura – NIMB #69
05:45 Rafael Toral & João Pais Filipe – Beyond
10:10 Anastassis Philippakopoulos – Piano Piece (2018b)
12:38 Robert Curgenven – Introduction- In The Courtyard, A Garden
16:10 Laurie Spiegel – Drums
19:53 Lieven Martens – Effets de Serres III
21:50 Mike Cooper – Baarish ke Baad (Sri Lanka After Rain)
26:40 Eli Keszler – Late Archaic
29:54 Dean Blunt – STOOZY (Kwake Dub Version 1)
33:33 Megatrend – Lovebirds
36:26 Stephen Cornford – A State Of Enclosure
39:26 Olivia Block – October 1984
44:03 MMMD & Alem – Sarabande
53:00 Nina Harker – Kanál
54:52 Sam Dunscombe – Outside Ludlow
58:28 David Lynch – In Heaven (Lady in the Radiator Song)
Marina Rosenfeld is a composer and artist based in Brooklyn, NY. Her works explore acoustic architectures and experimental forms of participation and sociality in sound installation and performance. http://www.marinarosenfeld.com/
Toshimaru Nakamura’s instrument is the no-input mixing board, which describes a way of using a standard mixing board as an electronic music instrument, producing sound without any external audio input. The use of the mixing board in this manner is not only innovative in the the sounds it can create but, more importantly, in the approach this method of working with the mixer demands. The unpredictability of the instrument requires an attitude of obedience and resignation to the system and the sounds it produces, bringing a high level of indeterminacy and surprise to the music. https://www.toshimarunakamura.com/
Rafael Toral and João Pais Filipe.
Jupiter and Beyond, the second collaborative effort of composer/performer Rafael Toral and percussionist João Pais Filipe as a duo (after Saturn in 2016), is definitely not quite a record of Earth music. On the contrary, Jupiter and Beyond, is indeed gas music, unfolding over two long movements without solid body or any tangible outline, between ambient and noise. A music of sheer volume and beauty, icy, massive, in which the elements of Toral’s signature, in particular his use of jazz-inspired electronics and feedback, dissolve to become a labile, nebulous, expansive material, occasionally struck by abyssal depressions and masterful densities, magnified by the return, after 17 years of silence, of the electric guitar in Rafael Toral’s instrumentarium. https://wearethreefour.bandcamp.com/album/jupiter-and-beyond
Greek composer Anastassis Philippakopoulos has been a member of the Wandelweiser composers collective since 2003. He pursues his own compositional style to create a new kind of tonal music, deeply associated with his individuality and the surroundings of his life in Athens, which is a unique blend of stoic minimalism, the warm colors of modern romanticism, and the introspective depth of Zen. https://elsewheremusic.bandcamp.com/album/anastassis-philippakopoulos-piano-works
Robert Curgenven is a composer/sound artist drawing on the physicality of sound – not just the physical impact on the body but the way in which the auditory can shape our perception of space and the flow of time, from architectural to open space. His works span pipe organ through to feedback, immersive resonances via turntables and custom-made vinyl, as well as carefully detailed field recordings from remote areas in Australia where he lived for many years. The Wire surmises that “behind the music—to these ears at any rate—lurk such [disparate] presences as Alvin Lucier, King Tubby, Murray Schafer and Eliane Radigue.” https://robertcurgenven.bandcamp.com/
Laurie Spiegel is an American composer. She has worked at Bell Laboratories, in computer graphics, and is known primarily for her electronic-music compositions and her algorithmic composition software Music Mouse. She also plays the guitar and lute.
Spiegel was seen by some as a pioneer of the New York new-music scene. She withdrew from this scene in the early 1980s, believing that its focus had shifted from artistic process to product. https://unseenworlds.bandcamp.com/album/the-expanding-universe
Michael Cooper is an English guitarist and singer-songwriter. Initially coming to attention as a country blues performer, his later work also straddles jazz, Polynesian, ambient, and various experimental and improvisational styles. https://room40.bandcamp.com/album/playing-with-water
Eli Keszler is an American percussionist, composer, and visual artist based in New York City. Known for his complex and intricate style of drumming, as well creating sound installations involving piano wire and other mechanisms to accompany his live performances, his shows have involved visual elements such as Keszler’s drawings, diagrams, screen prints, and writings. https://elikeszler.bandcamp.com/album/icons
Roy Nnawuchi, better known by his pseudonym Dean Blunt, is a British singer-songwriter and musician. He is best known for his solo work and his work as part of avant-garde duo Hype Williams (along with Inga Copeland), and more recently, the groups Babyfather and Blue Iverson. Blunt was also the founder of London rock band Graffiti Island. He has been described as “a prolific, category-rejecting artist” and “an art-pop provocateur.” https://doulikeworldmusic.bandcamp.com/
Greyscale ambient and ritualistic electronics from Seoul, recomposed from memories of a teenage life lived in Oberursel, Germany. The artist does not wish to share a great deal but sonic signifiers pull from the worlds of Cold Meat Industry, Steinklang and Eskimo Records. Lyrics are banal to the point of emptiness, a concrete slang of negativity. The voice is sometimes pulled out into brassy elongations recalling the cavernous haunt of Ain Soph or shattered and stuttered through interference and the distance of the past. https://opaltapes.com/album/oberursel-bahnhof
Stephen Cornford is a media artist who works with consumer electronics, critiquing the ideologies they embody and the constitutive role they have come to play in our lives. He recently completed a PhD affiliated to the Archaeologies of Media & Technology Research Group at Winchester School of Art. His current research is concerned with the toxicity of media technologies, and the scarcity of some of the raw materials now ubiquitous in digital imaging devices. These works seek to problematise the technological solutionism often proposed to resolve the environmental impacts of rampant media consumption. https://www.moremars.org/product/stephen-cornford-domestic-music/
Olivia Block is a media artist and composer. Currently, her practice includes live performance, recordings, audio-visual installations, sound design, and scores for orchestra and chamber music concerts. https://oliviablock.bandcamp.com/track/october-1984
MMMD & Alem.
ΜΜΜΔ’s signature massive low end establishes a gigantesque basso continuo for ALEM’s keyboard extravaganzas to sit comfortably on. Apart from MMMΔ’s usual custom-made equipment different period keyboard instruments were used during the recording: clavichord for the Αdagio, harpsichord and baroque timpani for the Sarabande and portable organ for the Air.
In ‘’L’âge de l’absolutisme” an enigmatic manifesto is shaped: sparse evidence of ΜΜΜΔ’s 12-year path from dissonance to harmony. With the help of ALEM’s virtuosic escapades the sound walks a tightrope between strict rule and freedom, majestic grandeur and modest means. https://mohammadsound.bandcamp.com/album/l-ge-de-l-absolutisme
A mysterious, difficult, sensory overload of a debut album… a kind of whacked-out hot-and-cold-wave sung in half dozen different languages, toggling between swampy sick-poppy euro-pop (‘Mussen Wir Noch Aufbluhen?’ splits the difference between Saada Bonaire and the uptight drama of a genuine NDW driller-killer), off-key minimal drum-machine death-folk (one tune sounds like AC Marias if Bruce Gilbert had forgotten to tune his guitar), and rarefied Vrystaete-ish psycho-ambience. https://lesyndicatdesscorpions.bandcamp.com/album/nina-harker-3
Sam Dunscombe (originally from Melbourne, Australia and currently based in Berlin, Germany) is a performer-composer specialising in the use of clarinets, computers, and microphones. Dunscombe is interested in work that explores the multi-dimensional perception of time, which has drawn them to areas including improvisation, the performance of complex-notated repertoire, field recording, audio engineering, and live electronic performance. https://samdunscombe.bandcamp.com/album/outside-ludlow-desert-disco