Natalia Kamia, Stewart Miller, and other invisible entities
“We jammed on our little green aircraft”
We welcome back Natalia Kamia on eg0cide, a few years after her collaborative work Cluster with Ayato. This time she teamed up with Stewart Miller from USA Both of them have studied music in academic settings, but in order to expand the expressive potential of their crafts, they have turned to utilizing extended techniques for their main instruments – for Natalia the piano, for Stewart guitars – and using objects/processes that were probably never intended to be musical. All of the tracks from their album “We jammed on our little green aircraft” were compiled from recordings that they had passed back and forth through the internet.
The result of this collaboration is a fresh & intriguing work that deliberately ignores the traditional hierarchies between sounds and focuses on attending to their particularities, without trying to polish them too much. Stewart and Natalia are not afraid of collisions. Their music passes by the non-contradiction principle and the narrow conceptions of music as “harmony”; their sounds dance, float, slip, crash and start running again without following a precisely perceivable logic: you just have to accept them as they come & go. They form a dizzy, unstable world that is in the same time very material and completely unreal, sometimes joyously agitated, sometimes more restrained and plaintive. These tunes often keep some kind of twisted groove, as in some forms of free jazz.
I won’t pretend to know who or what the “other invisible entities” credited as co-creators of the album might be, but having listened to it several times I’ve realized that even goldfishes might learn to sing, and that plants need to pee sometimes. Maybe we just have to experiment with different ways of feeding pianos and guitars ? “Meow!” answered the swinging spoons…
” Solo Duo Trio #01 : Failure Circle / Godjira / Ugut”
Eg0cide Productions teams up with another french label, Apocope, to organize live concerts folowing a simple format: three parts, one solo, one duo, one trio. Artists are invited to present new projects, and to try to new encounters (for one live set or more). Each concert is recorded, and then made available for free download. This project aims to present a panorama ofthe vivid & diverse french the experimental scene at a given time. All these recordings will be co-released by eg0cide and Apocope’s digital section : https://label-apocope.wixsite.com/apocope/numerique
The first event of this serie took place at La Pointe Lafayette on february 17 of 2018.
It featured :
– Failure Circle (a solo project of Kecap Tuyul aka eg0cide S.A.) : this was his first solo show, using a no-input mixer and effects, creating unstable sound situations that can turn to silence, ears-plitting feedback, irregular beats, deep drones…
– Godjira : Frederick Galiay (bass) & Benjamin Pagier (bass) . Two basses plugged in the same monolithic totem-amplifier.
– Ugut : Augustin Bette (drums), Xavier Mussat (guitar), Basile Naudet (saxophone) : this was their first show, mixing radical free improv with experimental noise-rock infused guitar
Recorded by JJGfree & Benjamin Pagier
Mixed and mastered by Benjamin Pagier
Artwork by Xavier Mussat
Special Thanks to Michèle / Doxa Esta
Time for a special and long overdue release here at noisyvagabond! For our 50th release we present a gigantic collection of tracks (43 to be exact for a total of 6 hours of music!) from Split Phase. Split Phase was a live electronic duo hailing from Upstate NY consisting of myself (c. ‘transient’ martin) and Mike McInotsh active for a period roughly through 2010-2014. For our live shows, we were joined by Nate Vanslyke on lights and visuals. I provided the musical backing via loopers and a plethora of synths and effect processors while Mike provided the rhythms via an acoustic and electronic drum kit. Split Phase was an attempt to make music in real time which generally was made with sequencers or computers and bring those types of sounds into an improvised live process. As such, the music lost some of it’s precision but gained much in the way of humanized passionate expression. Presented here is a small selection of the countless hours of recordings we amassed practicing and creating on a near daily basis. You will find an eclectic mix of genres ranging from jazz, funk, drum and bass, dub, techno, downtempo, and more as we were never interested in pigeonholing ourselves into any particular sound. I hope you can find something in this compendium that moves you. One day the fates will realigned and new Split Phase music will be churned out. Until then, ENJOY!
Acknowledgements: Thanks to Carmen Chiles for letting us include our remix of her track ‘Love is’ and Sarah Winton for providing vocals for ‘Compromise’.
Onde Poussière is the experimental / free improvisation duo of Doedelzak (analog synthesizer) and Kecap Tuyul (prepared guitar (2015-2016), no-input mixer (2017-…))
The 3-rd edition of The Feel of DEFIL project = 37 tracks and over 2 hours of vintage guitars music and different styles (progrock, alternative rock, metal, blues, chillout, improvisation, you name it).
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.
Darius Ciuta: kadk2
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.
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
Tony Whitehead: By the river, in the forest
Improvisations with natural objects. Dartington Hall and East Dartmoor.
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.
“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.
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.
“games of sounds” = m.i.y. (mix it yourself)
organize 2 (or more) groups of modules and play it simultaneously in random mode
(or alternatively you can decide yourself about combinations) from 2 (or more)
based on Uchat M
Composed by Slavek Kwi in between June 2017 and January 2018,
Cave Studio, Ireland. Based on various field recordings,
focused mainly on animal voices, collected around the planet Earth,
underwater and in ultrasonic zone included.
A few brief appearances of James Kwi singing while clapping bones.
“When listening to a sound work, the first thing that presents itself is the sound as a mass; however, in this work of Baltazár, it is the space that is defined around these masses which constitutes an equal or greater presence. I do not mean the silence, but the wake that each sound wave leaves when it is diluted in the process that produces a particular effect or modulation. The sum of these sonic wakes composes a new plane that is separated from the melodies and blocks of noise that make up this work. From “reading between the lines” one passes to “hearing between layers”. It is a constant game of associating and linking what is happening between these, entering the rhythm from the multiple directions through which reality appears to us on a daily basis.
As for sound, it oscillates between acoustic melodic parts and granules of noise that collapse in a cloud of digital processing; in the range of phrases composed of saturated coupling and the reverberation of pure tones.
If we had to make a parallel with painting, we could say that the figure and the background are clearly defined in each piece of “After Kansai” and both alternate in order to approach and move away from the plane in which we inhabit as listeners. The first tending to have few elements with clearly defined lines and the second like a great density of volumes that move in independent directions and sensations that come together and disentangle themselves.
Silence exists in the form as well as the emptiness in the background, but never between them. The sound leaves traces and these traces are those that are structured as the fundamental component of this work.”
Jukpic is a duet of Benoît Rouits (Oboe) and Kecap Tuyul (no-input mixer with effects). They started to improvise regularly together in summer 2017. This is their first album, made of four unstable cocktails: it’s spicy & fruity – to be served very fresh.
“Shadows of the Shepherds: A Brief Retrospective of 2017 Works”
This album is a collection of works from the Awkward Geisha 2017 repetoire. Call it a sampler if you wish. Call it a ‘best of’. Call it art.
Awkward Geisha is a free improvisation ensemble with legs firmly lodged in the avant garde and dada movements.
Members of the ensemble vary from song to song.
The ensemble was put together by Harsh Noise Movement in 2016 as a reaction to the mundane and tedious sounds that insult the eardrums on a daily basis.
On this collection, Awkward Geisha is:
HNM. Eric Jovet. Ludwig Dementgenstein. Gaitoh. Ghostskull. Akano Shibahito. Gimp Gash. Tim Kai. Kryptek.
All songs written by Awkward Geisha except Hellhound on my Trail, written by Robert Johnson.
All songs produced, mixed & arranged by HNM.
live @ re:flexions – silent series ° Ganze Bäckerei, Augsburg, 02.12.17
This is not a live recording and yet it also is. Part of this concert was ‘semi-acoustic’, not going over the sound system, but using separate smaller speakers and radio speakers. The audience was asked to do a recording on whatever means they had with them, which turned out to be harddisc recorders, camera and mobile phone. All of the ones I received afterwards were used to create the music you are hearing, a collage of various recordings from various points in this space. So its live and not really. I mixed it but did not really edit, as in taking out the ‘bad parts’, it.
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