Una Lee – From B with L

Una Lee – From B with L
[PT081]

Una Lee

“From B with L”

This is a recording of a soundwalk observed from a first person’s point of listening. As all sound recordings do, this soundwalk recording presents what the specific one person hears when she went on a particuar walk. The unusual feature of this work as a soundwalk recording is that it also provides an insight to the thoughts that occur to her while she is on the walk, rendered as a voice letter to an unidentified acquaintance. This reveals personal stories and memories related to the places she visits as part of the soundwalk.

Sound recordings, Voice, Artworks, Cover Art by Una Lee

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EMERGE – betamorphoses

EMERGE – betamorphoses
[1020]

EMERGE

“betamorphoses”

attenuation effect ° 1020 ° 2018
photography & design by EMERGE
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PHILIPPE NEAU – Place where we listen​.​.​.

PHILIPPE NEAU – Place where we listen​.​.​.
[ACP 1172]

PHILIPPE NEAU

“Place where we listen​.​.​.”

mastering by Raffaele Pezzella (Sonologyst)
photography & design by EMERGE
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Natalia Panzer – Subway Street and Other Public Music Vol. 3

Natalia Panzer – Subway Street and Other Public Music Vol. 3
[WAC24]

Natalia Panzer

“Subway Street and Other Public Music Vol. 3”

Natalia Panzer lives in Sunset Park, Brooklyn. She helps run Lynn, Looking at your mint, and Refresh Gallery. “Subway Street and Other Public Music Vol. 3” is the third installment of a series of the series “Street, Subway, and Other Public Music”, where she record street musicians and other public music and sound around New York City. This is the first time she is performing as a “street musician”. Her performance was held at a park by my house called Bush Terminal Park. The last recording of the flute player she made in Chinatown in Manhattan.
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Darius Ciuta & Chris Cilver T s

Darius Ciuta & Chris Cilver T s
[pyr264]

Darius Ciuta & Chris Cilver T

“c-s”

all music by Darius Ciuta and Chris Cilver T.
photo_ D.C.
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InO – Magali Albespy – 2017/2018

InO – Magali Albespy – 2017/2018
[Eg0_191]

InO – Magali Albespy

“2017/2018”

InO is the acronym for “Interpenetration and non-Obstruction”, one of the principles that John Cage used to create music that was anarchic (against the structures of most of musical traditions) and in the same time encouraging new possibilities of coexistence. Magali Albespy, a french artist rooted in dance and performance, took inspiration from this for a methodology of real time composition dance practice focused on sound. “2017/2018” is made of excerpts of the sessions recorded during the first year of these weekly events.

These recordings can be considered as documents of this practice. Indeed they are such documents, especially for people who were involved in the sessions. But we think that they also have a fragile and surprising beauty of their own that deserve an independent life for your listening. This unexpected musicality has been discreetly stressed by the editing choices, which we can consider like a delicate work of “a posteriori composition”, a work made with respect for the uniqueness of each sound event and their kind of abstract narrative power. That’s why we hope that you will enjoy these atypical works.

Credits :

Recorded and edited by Magali Albespy.
Pictures by Anne-Catherine Nicoladzé (front cover) and Emmanuelle Huchet (back cover)

Featured performers :
Magali Albespy, Jean Bloch-Laroque, Suzanne Cotto, Antoine Freychet, Chloé Garat, Flora Gaudin, Camilla Gliozzi, Virgine Gouband, Emmanuelle Huchet, Paul Kauffmann, Guillaume Lecamus, Laurence Luminet, Blandine Minot, Stéphanie Moitrel, Martine Muffat-Joly, Anne-Catherine Nicoladzé, Olivier Pelletier, Stéphanie Puechavy, Regina Ramsl, Anne Savelli, Kecap Tuyul, Donata d’Urso, Sig Valax, Mandoline Whittlesey

Magali Albespy is a dancer and performer. She likes to question the borders between formats and artistic disciplines. She explores real-time composition with body, video and sound. As a musician, she also plays in M.A.K.T. Sono and Mesce Basse.



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Bernard Grancher РPleurs Magn̩tiques

Bernard Grancher РPleurs Magn̩tiques
[D!HR-38]

Bernard Grancher

“Pleurs Magnétiques”

For its 38th release, Da ! Heard It Records changes your grey matter into black matter.
Just like the too-strong coffee that brings us to work each morning, this cassette album has the dark and bitter taste of a hopeless routine.
With this collection of vague loops whose high unstable notes bring back to the surface daily uncertainties, the Pleurs Magnétiques (“magnetic cries”) of this beverage has the listener drift far away from restorative sleep.
Dented, used, rickety, these rehashed snippets of existence crash into sunless beaches of sound.
In the background, the continuous breath that animates them sometimes gives a glimpse of its author’s, Bernard Grancher.
After pulling out of the forgotten pile the magnetic tapes of a hundred old pieces from the nineties with his stooge, Emmanuel Lautreamont, the Rouen-born tried his hand here at an original exercise in style.
Using the 4 track as an actual instrument, he plays with various effects to denature this initial material.
Between sonorous poetry and industrial music, the result shows an unpublished side of his work, all the while staying close to his habitual obsessions. The accompanying illustration, signed Nicolas Nadé, seems to be just as loyal to this pessimistic vision of our era.
Whether you are familiar with his surrealist pop synth released on Ego Twister and Gonzaï or simply intrigued by obscure atmospheres, you are sure to give in to this little black coffee…Pleurs Magnétiques, the 38th release of Da ! Heard It Records is distributes under a Creative Commons License Y-NC-ND. The album is available for free listening and downloading at the following address: http://www.daheardit-records.net/en/discography/dhr-38
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Chris Silver T – bd hbt

Chris Silver T – bd hbt
[SR192]

Chris Silver T

“bd hbt”

Sounds / Photo – Chris Silver T
Cover art by neta
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Sams n – Cedar St // Acacia Ave

Sams n – Cedar St // Acacia Ave
[Macaque 003]

Sams n

“Cedar St // Acacia Ave”

Macaque Records is proud to announce the release of the third album in its discography, the experimental Cedar St // Acacia Ave by Sams n. Choppy beats, sparse vocals, looming atmosphere and odd tangents augment this unique collection of music. Get lost in the curves and pulses of the record tonight!
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Chris Silver T – Soundcheck

Chris Silver T – Soundcheck
[a25]

Chris Silver T

“Soundcheck”

Soundcheck
Chris Silver T – Field Recordingsartwork_Atilio Doreste
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Karlheinz Essl – Where’s the Rainbow?

Karlheinz Essl – Where’s the Rainbow?

Karlheinz Essl

“Where’s the Rainbow? “

Between the years 1620 and 1636, Peter Paul Rubens created, without the prompting of any commission, his Landscape with Philemon and Baucis. He kept working on this image throughout his life. The painting tells the story of Philemon and Baucis as Ovid presented it in his Metamorphoses. In Ovid’s narrative, an old married couple receives a surprise visit from the gods Jupiter and Mercury, disguised as weary travelers who cannot find a place to spend the night. The old couple does not judge these travelers or question where they are from; they simply offer them kindness and hospitality. The two gods offer the couple a gift expressing their gratitude: they spare their lives when, the next day, a great flood comes crashing over the land.

In the painting, only a small group of figures makes reference to this fable. The main theme of the piece is the unpredictability of nature with its untamed, uncontrolled power: lightning and thunder, rain and storms, a cow screaming as its life ends within a torrent, a mother desperately trying to rescue her baby. This is an apocalyptic catastrophe of unimaginable proportions. And yet, Rubens included a hopeful sign in this image: in the lower left-hand corner of the tableau, you can see a rainbow…

“Somewhere over the rainbow, way up high,” sang Judy Garland in the well-loved film The Wizard of Oz (1939), a song promising hope and a wonderful world far from the darkness and ominous threats of the Second World War.

This image has much to tell us in our contemporary lives, as our current reality includes events such as the refugee crisis, global warming, and the threat of nuclear disaster. It acts as both a warning and a sign of hope.

For the theatre project Ganymed Nature, composer Karlheinz Essl worked extensively with Rubens’ Landscape with Philemon and Baucis, creating an immersive soundscape to reflect this painting. This sound work is based on algorithmically generated soundscapes taken from weather and other natural phenomena: the forest and the wind, a stream that swells and overflows, thunder and lightning. We also hear sounds that refer to human activity: rustling steps through foliage that turn into the ringing of high heels, in which a woman stalks on asphalt. And then there are signaling sounds: a firebell extends into an unending tolling that spins onward into infinity.

The poetry of the rainbow overarches everything; the promise of salvation, a glimmer of hope. To express this, Essl worked with an a-capella-choir to create chord structures which he then recorded and electronically transformed. The highlighted melodic fragments are reminiscent of the famous rainbow song yet appear in a peculiar harmonic disguise which let you sense the atmospheres of other planets.

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Jared Sagar – Fortitude

Jared Sagar – Fortitude
[PE15]

Jared Sagar

“Fortitude”

Field recordings processed using granular synthesis, time scaling and various other methods.

Jared Sagar is a British experimental composer. He generally uses field recordings which are then modified using various methods and techniques. The genres he works in range from Algorithmic Composition, Microsound, Granular Synthesis, Ambient, Noise, Field Recordings, Drone.

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Circuitnoise – coronal loops of noise – fusion

[ACP 1155]

Circuitnoise

“coronal loops of noise – fusion”

recorded by Jens Rosenfeld in Darmstadt in November 2017
mixed and mastering by Jens Rosenfeld in May 2018photography and design by EMERGE

This time Circuitnoise explores the coronal loops of the sun. The magnetic flux within the solar body gets twisted and mangled and create these giant loops. These loops of fire are emitting electromagnetic pulses, which could be recorded by radio telescopes all over the world.

On the search for new sounds Circuitnoise uses the electromagnetic sounds of the sun and combine them with electromagnetic fieldrecordings from earth to a dark, rumbling and screaming sound collage.

The coronal loops of noise is a trilogy consisting of the recordings matter, fusion and core.

recorded by Jens Rosenfeld in Darmstadt in November 2017
mixed and mastering by Jens Rosenfeld in May 2018

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Toni Dimitrov & DR – 1802_18

[PE14]

Toni Dimitrov & DR

“1802_18”

Collaboration between Toni Dimitrov and Dominic Razlaff, aka DR.

Field recordings made by Toni Dimitrov in Macedonia at various locations and then layered and processed using granular synthesis, ukulele and synthesizer by DR. Final arrangements by both artists.

Part of a series of collaborative works by these two prolific soundscape designers.

Released 14 July for Netlabel Day 2018.

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Toni Dimitrov & DR – Braunschweig Sessions

[post029]

Toni Dimitrov & DR

“Braunschweig Sessions”

Newest in the series of Toni Dimitrov’s collaborations is the album with the German artist Dominic Razlaff AKA DR. “Braunschweig Sessions” is the result from this collaboration, showing in front of the listener the infamous soundscapes of long form drone explorations of which DR is known for, merged with the subtle affection for field recordings infused ambience characteristic for Toni Dimitrov. Field recordings were provided by Toni Dimitrov, which are afterwards processed by DR, or layered with processed (granular synthesis) Ukulele and Synthesizer, arranged by both artists. Recorded on various destinations around Macedonian nature, this material is a reflection of a nice, subtle, calm and peaceful journey. With its ranges and spectrum from more subtle soundscapes to rawer and at times even unnerving sound experiments, this work is a direct presentation of the works of both artists, now connected in joint work. This is the first in the forthcoming series of collaborative works by these two prolific soundscape designers.
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MASON – Infraorbital Venous Stasis

[ACP 1153]

MASON

“Infraorbital Venous Stasis”

Mason is the new project from Abe Mason (Thirteen Fingers, Church of the Tin Vagabond) Harsh Cut-ups, industrial ambiance and field recordings are utilized to create a project that is personal, evocative and dynamic. Inspired by Purgist, Facialmess, Kuzuma Kubota, Kazumoto Endo, Chris Goudreau, Harness, Developer, Enephalophonic and Constrain.
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Trixie Delight – Submarine

Trixie Delight

“Submarine “

Trixie Delight’s second release on TCFSR is once again constructed from her own field recordings over which she plays her zither and sings.

This release includes interpretations by Lone Cosmonaut, Doctor Mario, Dental Drill and 3dtorus.

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Gilman Mom – Revisionist History

[Macaque 002]

Gilman Mom

“Revisionist History”

In attempt to connect deeply with nature Gilman Mom’s newly-released album, Revisionist History, is immersed in atmospheric field recordings and jazz-inspired drone. The album looks to delve into the embrace of a warm, youthful summer’s day and perhaps explore what mental state endured by such an environment.
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ZeeKat – it Hertz (EP)

[BM07R18]

ZeeKat

“it Hertz (EP)”

Zeekat does this, because it’s a fairly cheap hobby that doesn’t require going out often. Project was started when enough musical equipment was collected allowing to engage in an activity that won’t ruin the eyesight. Influences include Ozric Tentacles, Porcupine Tree, Boards of Canada, The Orb and some low key existential dread.

Credit:
Guitars, bass, synths, sequencing, (electro-magnetic) field recordings, knob twirlings, production – Zeekat (Lukasz Padzik)

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DABIT VOCEM AUSTRIA – A Night Out

[ACP 1148]

DABIT VOCEM AUSTRIA

“A Night Out”

Recorded between December 2017 and February 2018 at Roy T. Studio, Mühlbach, Dornbirn.
Thanks to Andrijana for help.

photography by Dabit Vocem Austria
design by EMERGE



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DR – Sehnsucht

[PE13]

DR

“Sehnsucht”

Dominic Razlaff (aka DR) is an ambient musician from Braunschweig, Germany. Interested in making music since 2007 he bought his first synthesizer (Novation Xio) in 2009. Currently he uses classic subtractive synthesis, granular synthesis, field recordings and tape loops to create evolving, melancholy ambient/drone soundscapes.

1. Sehnsucht (8.53)
2. Aussteiger (7.22)
3. Hoffnungsschimmer (3.35)
4. Bauchgefühl (4.44)
5. Unterwegs (8.05)

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V.A. – A Radio​-​Bridge across the Zambezi

V.A.

“A Radio​-​Bridge across the Zambezi”

In team with radio-makers at Zongwe FM and the women of Zubo Trust, we are proudly presenting a compilation of radio remixes produced by artists and radio-makers from around the world in response to audio/radio actions both sides of the Zambezi. A Radio Bridge of 23 music tracks, by more than 50 contributors from 17 countries awaits you. Join us and enjoy listening!

Solidarity with radio-makers at the Zambezi:

All proceeds from the compilation’s online sales will benefit radio-makers in training both side of the Zambezi, in Sinazongwe Zambia and Binga Zimbabwe this year. Twalumba loko! twalumba maningi ! thank you for your radiating solidarity !


Ciuta / Kwi / Simpson / Whitehead – An Attempt For Balance

[PT074]

Ciuta / Kwi / Simpson / Whitehead

“An Attempt For Balance”

Track 1:
Collective composition: An Attempt for Balance
Four individual sequences were mixed together. The structure was left intact – as it is – however overall volume levels of each contribution were adjusted in hope to create situation which would validate and accommodate all participating sounds as well is possible.
Mixed by Slavek Kwi, January 2018. Many thanks to Tony, Dallas and Darius for agreeing to this little experiment and to Chris for making it available to your ears.

Track 2:
Darius Ciuta: kadk2

Track 3:
Slavek Kwi: Time_R
Usually, when I am staying somewhere overnight and there is a clock ticking, it is rapidly removed from the room and ends up behind the doors. However, ticking sounds of clocks – even grandfather’s giant chiming clock – were part of my sound environment in my childhood. The sound of ticking has certain determination to it; destination-like quality. You can always hear it. For this piece I decided to use ticking sounds and the end of resonance of chime as basic material to evolve.
Recorded in January 2018, Mountshannon, Ireland.

Track 4:
Dallas Simpson: Vibrating Air: Wood / Metal / Water / Stone.
An environmental observation and improvisation recorded live on location near the village of Lambley, Nottinghamshire, UK on 4th February 2018 at 7am to 8am in a single take. All sounds and spatial choreography was created live on location. The recording was edited and mixed as my contribution to the Plus Timbre collaboration release in 2018.
Many thanks to Plus Timbre and the other artists participating: Darius Ciuta / Slavek Kwi / Tony Whitehead.
dallas simpson 05/02/18

Track 5:
Tony Whitehead: By the river, in the forest
Improvisations with natural objects. Dartington Hall and East Dartmoor.

Track 6:
Collective composition: As It Is
Four individual sequences were mixed together without any adjustments. Mixed by Slavek Kwi, January 2018. Many thanks to Tony, Dallas and Darius for agreeing to this little experiment and to Chris for making it available to your ears.

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Tony Whitehead – Shoreline

[PT073]

Tony Whitehead

“Shoreline”

Shoreline was improvised with found materials on the coast of Brittany near Perros-Guirec. It continues the artists fascination with the sound making potential of small ordinary natural objects.
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Dallas Simpson – Railway Footbridge Improvisation For One Adult and Two Children

[PT072]

Dallas Simpson

“Railway Footbridge Improvisation For One Adult and Two Children”

This work was created as a result of both joining a local walking group, the Netherfield Strollers and inspiration from an environmental improvisation workshop that was conducted at Hull University earlier this year as part of their Sound + Environment 2017 conference.

A walk with the Strollers earlier in the year introduced me to Carol and her two grandchildren, Eben (10) and Finlay (7). During our walk we crossed over a railway footbridge and then followed a footpath where I introduced the children to some simple sound making using a found stick and the railway boundary metal fence, then blowing ‘cawing’ sounds using our thumbs and a blade of grass. They loved it. And so the seeds of a freeform intuitive environmental improvisation were sown using both a prepared environment and found sound objects in the manner of the Hull Workshop at the location of the railway footbridge we discovered on the walk. This would feature Eben, Finlay and myself as freeform performers / improvisers.

As preparation for the performance I visited some of the houses adjacent to the footbridge to warn them of our activities at night just in case they may be disturbed by our soundings. The response varied from mild hostility, to curiosity, to support and even one couple asking if they could join in! I replied that they were most welcome.

Having obtained permissions from their mother Nicola, we gathered on the 9th December 2017 first at my house for a bit of instruction in making sounds with the objects I was preparing the location with (Aluminium Searchlight Mirror, 4 inch Fired Brass Gun Shell, Bull Roarer, various Plastic Pipes of different widths and lengths, Gong Beater, Long Thin Spring and a few other sundry items.) Following this brief instruction we went to the location in the dark at about 7:30pm and after placing the sound objects to prepare the location, we had a few moments silence, then made a short walk in to the start of our improvisation.

The performance consisted of two Movements:

First Movement: Outward (Practise, Vox ad-lib) Joyous.

Second Movement: Return (Performance, Vox tacit) More Meditative.

I was struck by the zeal and enthusiasm of the two children. They followed my example and were soon experimenting and making their own sonic discoveries. Found sound objects included the structural metalwork of the bridge itself, the metal fencing and lamp posts. Other found items included various pieces of discarded litter, drinks cans, plastic bags, drinking straws, sticks, branches, leaves and stones.

The only additional instructions given were that during the Outward (Practise) we could speak if we wished, but not to speak on the Return (Performance) movement. Quite spontaneously they incorporated the ‘thumb cawing’ sounds into the Second Return (Performance) Movement and made many exciting sonic discoveries such as the ‘frog sounds’. A few passers-by were briefly present while crossing the footbridge.

Technical:

All audio was recorded binaurally and continuously as single takes using custom modified in-ear DPA4060 microphones directly into a Sound Devices 744T digital recorder.

All spatial choreography was created intuitively during the recording by dallas simpson.

Editing and minor corrective EQ was done using Cockos Reaper software.

Headphone listening is recommended for a full 3-D surround sound experience.

Photographs by dallas simpson.

Sincere thanks to Eben and Finlay for their inspiring participation, and to Carol and Nicola for their approval, plus supporting and helping during the preparation and performance.
Dallas Simpson, December, 2017.

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