Compilation of sounds gathered from the Western Treatment Plant wastewater facility. Sounds presented across a 4 channel outdoor sound installation, transduced through large steel pipes. The sounds included here were not arranged linearly but were on their own compositional directions, moving across the 4 channels in differing directions and speeds.

Old Boundary Road - Land by eves

Velodrome is a collaborative soundscape by Edwina Stevens and Carly Fischer that oscillates around the industrial peripheries of their local area of Coburg, Narrm(Melbourne), reflecting on how these in-between zones and their accumulations of forgotten fragments, traces and tones reveal hidden histories and generate improvisational dialogues with local places.

These recordings were made on lands of the Wurundjeri Woi-Wurrung and Boonwurrung People of the Kulin Nation, which always was and always will be, Aboriginal land.

Drawing on recordings that wander around factories, former quarries and scrap yards, as well as synthesised drones played through discarded infrastructure, the soundscape has been composed through a randomised playback process, generating incidental overlaps and trajectories that open up alternate dialogues with Places.

This piece was re-recorded and recontextualised for radio listening as part of Radiophrenia Glasgow in 2023. RADIOPHRENIA is a temporary art radio station broadcasting intermittently from the Centre for Contemporary Arts in Glasgow. The broadcast schedule includes a series of 14 newly commissioned radio works, 13 Live-to-Air performances as well as live studio shows, screenings, shorts and pre-recorded features.

Edwina Stevens

https://www.disrhythms.net

www.instagram.com/eves.disrhythms

Carly Fischer

https://www.carlyfischer.com

www.instagram.com/carlyfischer_

This work was commissioned by the Melbourne Electronic Sound Studio presented at The Substation at 'Sonorous V' 16 July 2022.

This is a spatially arranged binaural mix for headphones as representation of an Octophonic composition presentation and performance. Listen on headphones for best binaural effects.

'Sounds of thin places' explores multiple instruments and the “anomalies and interruptions in old circuits, where the machine appears to break through and speak for itself from the M.E.S.S collection, including the Yamaha CS-80, Steiner Parker, ARP 2600, Roland 100M system, Synthi VC3 mkII and Ondes Musicales to create intense drones, crackling signals, wavering harmonics and emerging melodies. Within the octophonic sound system, tones and textures overlap and intersect, slowly morphing and oscillating to create an immersive, cinematic listening experience, along with a performative element engaging with the wavering, noise-drone characteristics of the EMS VCS3 Putney and Synthi MKII.

Environmental recordings from in-between places and responsive, resonant synthesized sounds were arranged across a composition stretching 23 minutes in a full 360* circular sonic space (8 x UPA-1P speakers), with a live improvised noise... more

to place place upon place //

white noise / sine drone / cello / voice through cello pickup

This collaboration sprung from a research residency at Melbourne’s Living Museum of the West in Maribynong, Melbourne, incoporating oral archives from the 1980’s interviewing women who worked in the munitions factories around Melbourne’s West during WW1 and WW2. The interviews detail their personal experiences in terms of the danger and volatility of the work, the poor conditions, their discovery of unionism, feminism and their own personal anecdotes about life during war time in Australia.

In addition to the women’s voices, synthestized ambient geological and elemental sounds have been designed and sonified. These sounds cross over between military, machinic and volcanic/elemental sounds made using a Moog modular synthesizer. Some field recordings are also included in the soundscape, where effects and sounds interact in space, blurring recognition of any particular sound, space or time.

'I Feel The Earth Move Under My Feet' (as originally part of a sculptural and multi-channel sound installation exhibited in March this year at Incinerator Gallery) has been adapted to a 35 minute stereo radio edit for broadcast.

Narrm-Melbourne, 2022.

Narrm-Melbourne, 2022.

Narrm. 2022.

Sound takes us places. This work was made for a passing friend in their last few days. The work offers a wandering to places they were nolonger able to visit. Mona may you resonate in overtones forever.

17:30 Aramoana rocks (Aotearoa, Te Wahi Pounamu)

Coburg crickets (Narm)

Rakiura (Aotearoa)

You Yangs (Narrm)

a resonance #1.

A repeating sequence from eurorack modular synth customised for drone work and looping/delay sent through transduction speaker attached to the surface of a found piece of crumpled aluminium scrapmetal.

Audio recorded through 2 LOM mikroUši Pro microphones in each hand (where my left and right hands become the left and right channels of the stereo field) performatively moving over the crumpled metal surface revealing different harmonic resonances, overtones and undertones.

More can be read about this project here :

https://www.disrhythms.net/resonant-metals/