Electro-acoustische fragmenten, geïmproviseerde geluiden, vreemde liedjes en auditieve absurditeiten.
00:00 Resonator Spot.
00:30 Babak Ahteshamipour – Ode to the Boogeyman’s Automations.
02:52 German Army – A Grove of Bodies.
04:40 Church Andrews – CA GLUE1.
06:49 Specimens – The Lighthouse (Feat. Midori Hirano).
10:12 Dialog – Dialog Side D.
12:51 Ailie Ormston and Tim Fraser – No-show (You’re Perfect To Me).
15:07 Dylan Henner – Little Frogs Swam by Every Now and Then.
18:09 James Hoff – Other Sirens.
21:40 Lucio Capece & Katie Porter – Phase to Phase 1.
24:32 Peter Rehberg – at GRM (2009).
29:06 Toshiya Tsunoda – In the grass field.
31:39 Sarah Davachi – En Bas Tu Vois.
32:33 Richie Culver – Comfort Zone.
35:12 Arnold Dreyblatt – The Louisiana Purchase.
38:13 Tomaga – The Octagon.
41:18 Rrill Bell – False Flag Rapture Part 1.
43:50 Teresa Winter – Energy Buoy.
48:06 Simon Fisher Turner & Edmund de Waal – A Quiet Corner In Time.
52:23 Kali Malone – Living Torch I.
58:37 Chris Watson – The Rail Trail.
Babak Ahteshamipour is an Iranian multidisciplinary artist based in Athens, Greece. His practice is based on the collision of the virtual vs actual, aimed at correlating various topics that are not directly connected at first glance. https://babakahteshamipour.com/
German Army is a two-piece from the San Gabriel Valley and one of the loudest voices in the underground tape scene. Raised on Sydney Possuelo and Paulo Freore, their catalogue seeks to critique U.S imperialism and nationalism while bringing attention to endangered culture and ecology around the globe. https://naturalsciences.bandcamp.com/album/endless-suburb
Church Andrews is Yorkshire-born Kirk Barley, a musical futurist whose throbbing rhythms march to the same beat as SND and Beatrice Dillon.
Dissonant electronics and synthetic melancholy are his stock in trade, as he brings a unique bump and swing to stripped-back techno. https://health.bandcamp.com/album/glue
Specimens (aka Alex Ives) returns with “Intersections”, a collaborative new album out 20th May on First Terrace Records. It follows up on his 2018 album ‘In The Dust Of Idols’ – which was selected as one of FACT magazines ‘Ambient Albums of the Year’ – and recent feature on the Ninja Tune imprint Ahead of Our Time alongside Ryuichi Sakamoto, Julianna Barwick, Kaitlyn Aurelia Smith, A Winged Victory For The Sullen, Skee mask, Suzanne Ciani, Helena Hauff and more for the ambient compilation ‘@0’. https://specimensmusic.bandcamp.com/album/intersections
AI-31 sees the debut release from a new collaboration between Samuel van Dijk (Netherlands) and Rasmus Hedlund (Finland). Both key proponents to the scene in Northern Europe, they come together with mutual understanding and a common vision to sound. Dialog acts as a conversational exchange that sees the interplay of dynamic frequencies, evocative imagery and contemporary sonic art. Spread across four sides, the album as a whole exists as a kind of metaphysical process, eternally growing and contracting — change is the only constant, marked by a continuous progression of sound and space. https://astralindustries.bandcamp.com/album/ai-31-dialog
Ailie Ormston and Tim Fraser.
It Changes is a new album by Ailie Ormston and Tim Fraser. It incorporates samples of collaborative session material, automated MIDI instrumentation, and adhoc field recordings. Music from this album was first presented in 2019 as a larger audio-visual work which debuted at the Centre for Contemporary Arts in Glasgow as part of Counterflows festival. The recordings were then completed in 2020 during the first lockdown using voice notes, and by running a 7.5m headphone cable between their neighbouring flats. https://bison-records.bandcamp.com/album/it-changes
“The Invention of The Human” is designed as a response to the question “what makes us human?” The question has become increasingly important in this period of history, in that many of the answers aren’t good enough. “Civilisation” could be one answer; but what good is civilization where there is so much misery within it? “Progress” could be another; but what good is progress without kindness and empathy to sustain it? Taking the thought of man’s relationship with technology as a measure of humanity, I asked the computer “what do you think a human sounds like?”, and with that I built this album of synthesised vocals, wondering if technological development can help explain what we are. https://dylanhenner.bandcamp.com/album/the-invention-of-the-human
James Hoff’s Inverted Birds and Other Sirens was composed after a visit to Chernobyl in 2018. Both works utilize GPS signals recorded within the zone of exclusion as well as orchestral arrangements for woodwinds, brass, and strings. The first piece was the soundtrack for HOBO UFO (v. Chernobyl), an audio-visual work based on a hacked version of Google Street View that PAN released in 2019. The second track is new to this release. https://jameshoff.bandcamp.com/album/inverted-birds-and-other-sirens
Lucio Capece & Katie Porter.
Katie and Lucio met over the internet almost every Tuesday for one year, composing two pieces, rehearsing, talking about their lives, and recording.
The desire to play together began after exchanging work and perceiving a deeply common approach to bass clarinet playing, to sound, and to music.
The two pieces offered here are based in a very distinctive but still strictly coherent approach in relation to the work they intend to do. https://ftarrilabel.bandcamp.com/album/phase-to-phase
Peter Rehberg, also known as Pita, was a British-Austrian composer of electronic audio works. He was the head of Editions Mego, which he founded in 2006 as a successor to Mego. https://peterrehberg.bandcamp.com/album/at-grm
Undoubtedly one of the most influential artists working with location recordings since the 1990s, Tsunoda’s work possesses a rigorously searching quality that sets him apart from his contemporaries. Tsunoda is known to many listeners for the subtle atmospheric poetry of his early Extract from Field Recording Archive series, which focussed on vibrations recorded in various indoor and outdoor environments in his native Miura Peninsula, often inside pipes, bottles and other vessels. In more recent years, his work has explored the implications of his claim that field recording should be seen as ‘depiction’ rather than ‘documentation’. He has explored disorienting editing and processing in his works with Taku Unami, and, perhaps most radically, represented Maguchi Bay as a kind of kinetic sculpture for shaking speakers by removing all but the inaudible low frequencies from a field recording (Low Frequency Observed at Maguchi Bay). https://blacktruffle.bandcamp.com/album/landscape-and-voice
Sarah Davachi (b. 1987, Canada) is a composer and performer whose work is concerned with the close intricacies of timbral and temporal space, utilizing extended durations and considered harmonic structures that emphasize gradual variations in texture, overtone complexity, psychoacoustic phenomena, and tuning and intonation. Her compositions span both solo and chamber ensemble formats, incorporating a wide range of acoustic and electronic instrumentation. Similarly informed by minimalist and long-form tenets, early music concepts of intervallic and modal harmony, as well as experimental production practices of the electroacoustic studio environment, in her sound is an intimate and patient experience that lessens perceptions of the familiar and the distant. https://sarahdavachi.bandcamp.com/album/two-sisters
Born in Hull in the North of England into a working-class family, Culver was not exposed to art growing up and left school with no qualifications to work in a factory making caravans. His practice encompasses diverse elements that range from painting, sculpture and photography to digital performance. Within this, Culver’s work is largely biographical wrestling with aspects of contemporary masculinity, the class system and the digital lens through which we live our lives. https://richieculver.bandcamp.com/album/post-traumatic-fantasy
Arnold Dreyblatt & Paul Panhuysen.
Ace archival find from Berlin-based American minimalist Arnold Dreyblatt and Dutch sound artist Paul Panhuysen, who deconstruct “the infinite complexity of string harmonics” on the 1987-recorded “Duo Geloso”. Using sustained electric guitar tones and overlayed drum machine cycles, they make mechanical drones and busted rhythms that harmonize with Rhys Chatham, Glenn Branca and La Monte Young. https://blacktruffle.bandcamp.com/album/duo-geloso
The duo, formed by Valentina Magaletti and Tom Relleen, are considered one of the most exciting and innovative experimental groups of the 2010’s. These extremely special productions afford us the opportunity to come to know the full extent of Relleen’s talent after losing him suddenly a few months before the release of the album ‘Intimate Immensity’ in summer 2020. The intuitive musical dialogue held between the English bassist and electronics engineer and Italian drummer/percussionist Magaletti is based on dark, subtle jazz, with psychedelic and minimal nuances, and enriched, as with each new offering, with exotic idioms hitherto unused. https://handsinthedarkrecords.bandcamp.com/album/extended-play-1-2
Following up on 2020’s critically acclaimed “Ballad of the External Life” LP, Rrill Bell’s latest outing on Elevator Bath is a complex amalgamation of acoustic source materials (metallophones, winds, strings, and brass), (cassette) tape treatments, and digital assemblages, which coalesced over a period of six years, starting from the artist’s desire to build a highly personal album around a turn-of-the-century recording of his late grandmother singing an impromptu hymn in Slovak dialect at a family gathering, resurrected from memory after lying dormant for 50+ years. https://rrill-bell.bandcamp.com/album/false-flag-rapture
Leeds based musician Teresa Winter began releasing music in 2014. Prior to Covid-19 she regularly performed live and during the first lockdown produced Love Crime, an album whose lo-fi electronics conjured a mixture of longing and unease. Her latest album Motto Of The Wheel is draped in a dreamy, post-rave haze and features artwork produced by her father and childhood photographs of her family. It evokes aspects of the artist’s upbringing in the Yorkshire coastal town of Bridlington, filtered through her interest in philosophy and furnished by striking samples https://teresawinter.bandcamp.com/album/motto-of-the-wheel
Simon Fisher Turner & Edmund de Waal.
A Quiet Corner In Time is a meditative drama, poised between action and stasis, mischief and grace. Some sounds are drawn out, combed into finely textured drones, while others remain starkly literal. We hear the creaks of rattling doors slamming shut; echoing steps of people moving through long corridors; cups and chatter in Viennese tearooms. The trapped harmonics in a vocal loop fall in, but lift before landing, and the small melodic chiming of porcelain shards resist syncing with the sounds of horses hooves, made percussive like castanets. https://mute.com/mute/simon-fisher-turner-and-edmund-de-waal-breaking-emptiness
Departing from the pipe organ that Malone’s music is most notable for, Living Torch features a complex electroacoustic ensemble. Leafing through recordings from conventional instruments like the trombone and bass clarinet to more experimental machines like the boîte à bourdon, passing through sinewave generators and Éliane Radigue’s ARP 2500 synthesizer. Living Torch weaves its own history, its own genealogy, and that of its author. It extends her robust structural approach to a liberated palette of timbre. https://kalimalone.bandcamp.com/album/living-torch
Christopher Richard Watson is an English musician and sound recordist specialising in natural history. He was a founding member of the musical group Cabaret Voltaire, and Watson’s work as a wildlife sound recordist has covered television documentaries and experimental musical collaborations. https://room40.bandcamp.com/album/the-rail-trail