The Soundscape – Cut & Run

Music for unaccompanied voice(s).

Tracklist:

* Hockets for Two Voices – Meara O’Reilly* Katajjaq Singing Game – Field Recording Nunavut 1978* Akazéhé Vocal Greeting – Field Recording Burundi 1967* Dikoboda Sombe Duet – Field Recording Central African Republic 1971* Three Voices – Morton Feldman* Piriforms – Laura Steenberg* Stimmung – Karlheinz Stockhausen* Nadi – Anchiskhati Georgian Choir* The Great Learning – Cornelius Cardew

Contemporary composers wrestle with the spectre of Beethoven glowering over their shoulders.

Track List:

* Brithoven – Neil Cicierga* Amproprification 8.1: Eroica – Maximilian Marcoll* 9in1 – Wolfgang Mitterer* The Exploration of the House – Alvin Lucier* Thanksong – Cassandra Miller* Quatour – Sébastien Roux

Curious piano pieces collected into listening columns by Ben Wylie.

Étude, a state of contemplation, “a study without an end”*

Track Listing:

* tsx x sue tompkins – green bow edge, 2019* Mikrokosmos – Another time, this time, one time: Side 01-Tutorial, 2020* Judith Hamman – Humming Suite V – Étude for multiphonics and humming, one cello, one voice, and one shadow voice, 2020* Gea Brown – 28 (excerpt from a live performance at Kunstraum Walcheturm in Zurich), 2017* Pak Yan Lau – Add wings to a pepper to make a dragonfly (excerpt from radiophonic work)– broadcast on February 19 2021, from Q0-2, Brussels* Peter Culley reading A letter from Hammertown from “Parkway”(2013), March 2015* Endlings, Save and Hold Fantasy Threats, 2021

Other, links, books etc:

Pablo de Ocampo’s exhibition notes for Mikrokosmos’ Another time, this time, one time presented at Western Front from September 22 to October 28, 2017

*Fred Moten & Stefano Harney, The Undercommons: Fugitive Planning & Black Study, 2013

Photo credit: Peter Culley, 2013

Brady C, interviews SFU Assistant Professor, SABRINA SCHROEDER.

audio archives – literary and “paraliterary” – porous sound

Track Listing:

* Emma Metcalfe Hurst – Far From Home, 2025* Interview with Deanna Fong (excerpts) – conducted on February 25, 2020* Deanna Fong and Roy Kiyooka – Pacific Windows – sound assemblage with audio from the Roy Kiyooka Fonds at Simon Fraser University 1966-2015* James Nicholas Dumile Goddard – live at Riding The Wave for XX Files Pirate Radio Festival, Nuit Blanche Montreal, 2018 (featuring voices of Dionne Brand, Octavia Butler, William H. Gass, William Gatus, Alain Robbe-Grillet)* Gmackrr – The Secret Need For a Listener – from “La Dépendance Électrique”, 2017

Reading from: Gabrielle Moser, “Porous Sounds: frequencies of refusal in diasporic family photographs,” Jacqueline Hoàng Nguyễn: The Making of an Archive, (Vancouver: grunt gallery) p. 82

Photo credit: Roy Kiyooka, StoneDGloves, 1970 (National Gallery of Canada)

Brady C. interviews ELDRITCH PRIEST alongside his new piece Omphaloskepsis. The title of this show BORING FORMLESS NONSENSE refers to… well you’ll have to listen to find out…

Happy Day! Auxiliary Sends Season 2 is approaching, to introduce you to or recap Elisa Ferrari’s series we present selections from Season 1.

Track List

* Mendi + Keith Obadike – Trouble the yellow mumble, Follow the scent – “The Sour thunder”* Oxhy feat Elysha Crampton – Psalms of the Khori Puma (Golden Puma)* Marina Rosenfeld – Hey Girl (it is not an issue for you) [Teenage lontano 3]* Marina Rosenfeld – Cuz I cannot find my way [Teenage lontano 1]* Maskara – The permanent lie – “Liqueur”* Freya Edmondes – Topology Of An Inner City – Instruments of the State by Tse Tse Fly Middle East* Pamela Z – You – “A Delay is Better”* laurie lax – bad ventriloquist* Kaie Kellough – d-o-y-o-u-r-e-a-d-m-e

We return under the waves and further below to the subsonic.

Track Notes

* Recent Hydrophone Recordings, highlights of Humpback Whales from SIMRES

Special thanks to the Saturna Island Marine Research & Education Society (SIMRES) for this sample of their hydrophone recordings, please consider donating to support their important work.

* Enrico Coniglio – TEREDO NAVALIS – 03 Teredo navalis (i) – Gruenrekorder

Over the past fifteen years, the sound research of Enrico Coniglio, composer, guitarist and field recordist, has focused on a possible ‘other’ acoustic symbolism of a territory, such as that of the Venetian lagoon, through the reading of its margins and its topophonies. This environment has been reinterpreted as a system of interaction and relationship of different parts in constant change. Through his capillary and patient work of sound recombination, Coniglio has made the marginal areas the subject of research in the analysis of the connections between music and landscape, with the aim of examining the crisis of the concept of territory – the loss of nature and of the identity of places -, in reference to changes and transformations in the post-urban and post-industrial territory.

On the occasion of “Teredo Navalis”, his first release on Gruenrekorder, Coniglio offers a sound work that shifts the focus from the ecological analysis of the previous albums towards an aestheticizing approach, in which field recording continues to be a methodology and a tool for investigating marginal areas.

“Teredo Navalis”1 is entirely based on aquatic sounds – mostly untreated – but at the end of the compositional process the result is a layering of micro-sounds, such as rattles, hums, peals, drones and high-pitched hisses, where the sound of water in itself remains in the background. All the sounds were collected mostly in the evening, using hydrophones, contact mic and electromagnetic sensors in the northern area of the lagoon, between Murano, Sant’Erasmo and neighboring areas, such as “velme”2 and “barene”3 and channels for urban navigation to the islands.

Coniglio approaches and crosses all these territories within a sensitized, circumspect mode, allowing the listeners to sense the dimension of depth in a waterscape full of sound flows, only apparently immobile but saturated with deep rhythms and cadences. Crossing this environment through listening returns not only a sense of boundless vastness, but also the richness of the transitions that tell of its transformations, of slips and conflicts in the whole area.

* Francisco López – untitled #346 – krisis publishing

untitled #346 is a sound work by francisco lópez and a text by Salomé Voegelin.Both work and text ask: how much sound can push us towards the limits of what we consider as listening? How sound art pushes us to investigate the threshold that separatesthe audible from the imagined, constructing sound worlds in which memory gathers in the imperceptible of matter?

In this single, long track, lópez renew a concept based on three fundamental elements: the feeble level of sound, which amplifies the listener’s auditory space, the sculptural distribution of the treated acoustic materials and the non-referentiality of the sound itself. He guides the audience’s hearing process through a labyrinth of unpredictable tr...

Dig in.