Utus Erod is a sonic epic through the mutations of an inner landscape; a journey between microscopic matter and vast expanses opening onto an infinite space, always teeming. Comparable to a kind of cinema for the ear, let yourself be carried away by this sensory and playful experience where listening suggests a world in full metamorphosis.
Composition acousmatique / stéréophonique
Utus Erod est une épopée sonore à travers les mutations d'un paysage intérieur ; un voyage entre les matières microscopiques et les grandes étendues s'ouvrant sur un espace infini, toujours grouillant. Comparable à une sorte de cinéma pour l'oreille, laissez vous porter par cette expérience sensorielle et ludique où l'écoute nous suggère un monde en pleine métamorphose.
Partout les fissures où tout s'érode. Les regarder se creuser doucement sous l'euphorie ambiante.
Audio in a network, Digital sound festival using the INTERNET as a venue for diffusing LIVE experimental, drone, noise, field recordings, sound poetry, electronic, contemporary music.
The festival is streamed live online and in a quadraphonic sound system at the venue “La Plateforme Intermédia” in Nantes, France.
The second festival took place in Feb/March 2014. Audioblast Festival #2 was curated by Julien Ottavi, Joachim Montessuis and organised by APO33. http://www.apo33.org
with:Strom Varx, Thor Magnusson, Soizic Lebrat & Jenny Pickett, Montex, Gael Segalen, Ryoko Akama & Minoru Sato, Sin:Ned, Ryo Ikeshiro, Philippe Cavaleri, Erin Sexton, Vitriol300, Cambia, Barg, Josep Manuel Berenguer, Antye Greie-Ripatti, Arrebato, Kwc, Le Verdouble, Michael Muennich, Shelly Knotts, Andy Bolus, ONsemble, Julie Rousse, Nerve, Julia Hanadi Al Abed, Fiona Lee, Keiko Uenishi, Germseed, Ana Maria Romano, Bonequi, Error:Wong, Elpueblodelchina.
A Live AV Performance
Experimental electromagnetic power noise Using D.I.Y. circuits: Oscillators, Timers, LDR, Solar Cells, Schmitt Triggers, Atari Punk Consoles, Light Sources (Projectors, Lamps, Strobes), Induction Coils & High Voltage devices (Tesla Coil). Natural low voltage components – such as solar cells – supply low output devices. The oscillators, based on the 555 chip, control 9V input and transform into sound. Optoelectronic oscillators are also used. Both produce a repetitively modulated wave that could be a sine-wave or square-wave. The light sources control the circuits modulating the signal, in other words, the light triggers sonic signals. In a sound/light integration, the modulation of tone activates an interactive system based on D.I.Y circuitry. It is a self-generated sonic machine creating a syncopated, high-pitched, noisy beep Moreover, the field emanated from the Light Electromagnetic Pulse (LEMP) creates interferences captured by the induction coil. Afterwards, the circuits are amplified and use a Tesla coil as output. A DIY high-voltage device that makes the input signal turns into sound through the triggering of a plasma gas spark. Also, the Tesla coil interferes with the induction coils making audible the electromagnetic field. The result is an a-rhythmic noise performance based on saturation and collapse. The triggering of the sonic signal through different media devices causes an innovative sound circuitry based in new bio-sonic materialism practices that try to move forward to cutting edge sound development. Medial ages performance investigates Simondon’s transduction effects, the same processes that occur when light stimulates brain waves. Suffice it to say that the process involves the intricate, split second operation of a complex system of signals between neurons and brain, or in that case, sound and light.
Corazón de robota is a sound project composed only by handmade analog synthesizers and sequencers which are crafted from different materials like fabrics, electronic waste and chocolate boxes. These devices generate different frequencies which play randomly, exploring the field of audible and inaudible frequencies as physical sensations, vibrations as cosmic messagesand the rhythmic dimensions of noise.
Online Audio Performances
Audio Blast Festival is a no-festival within festivals. It’s a new invitation for musicians, sound artist and others noise makers to play live through the internet. This live music will be experienced in 2 venues, one in Bergen for the Piksel festival and the other one in Nantes at the Plateforme Intermedia / Fabrique as a physical node of Piksel festival.
A chance to experience new forms of music created through Networked Performanes. 8 hours of intensive live audio flowing via Nantes to Bergen over 3 days of the Piksel Festival. more than 30 hours of music Including works from Sound artists, composers, musicians from around the world.
All the live performance will be played on a quadriphonic sound system in both country. Audio Blast Festival is curated by Julien Ottavi and organised by APO33. www.apo33.org
The first festival took place in November 2012
THENOISER, Jason Kahn, VOMIR, cdrikcroll, STROM VARX, Alex Mclean, th-th, Brice Jeannin, Emmanuelle Gibello Scenophonie, Robert Piotrowicz, Roel Meelkop, Philippe F Roux, Shoï Extrasystole, Romain Zigani, Luc Kerleo, Julien Poidevin, Francisco Meirino, Benjamin Cadon, Zenial, pizMO, Carl Stone, Jenny Pickett, Francois Martig, PifPaf (Avatar), Joachim Montessuis, Marinos Koutsomichalis, Seth Cluett, Raphaël Ilias & Florian Tositti, Oscar Martin (Noish), Kazuyki Kishino (KKNULL), Mattin..
all pieces have created with differents diy devices handmade by Cristiano Rosa and collect along the 2012 and recorded directly in one take.
duration - 60mins
The first étude in a suite of hand dryer sound energy studies, in this case inspecting the Dyson Airblade™. An airblade, with c. 2 years of use, was recorded in BRE’s large anechoic chamber, over a reflecting plane, with a measurement microphone. Ex-situ recording allows us to capture the inherent sound energy of the device independent of an acoustic environment, such as the highly reflective public washroom. The work slowly unfolds shards of frequency band extracted from the densely compacted, turbulent white noise generated from the 10 second cycle of interfering parallel air sheets traveling at 400 mph. Dramatic fluctuation in the spectrum are due to the interjection of the hands shortening the journey of the air sheets, reflecting the air back at the casing, causing further mutual interference. The sanitary tones suite forms a creative response to a larger project investigating the noise effects of high-speed hand dryers on users with sensitive hearing and special auditory needs.
John Levack Drever
Operating at the intersection of sonic arts, design, auditory culture, environmental acoustics and noise control, Drever’s theoretical and practice-based research demonstrates an ongoing inquiry into the affect, perception and practice of everyday environmental sound and human utterance. Projects are often derived from extensive fieldwork in particular soundwalking and field recording, the most recent of which explores the crowded soundscape of Hong Kong, 'Ochlophonics Hong Kong' (2001-2010). Drever is head of the Unit for Sound Practice Research, and a Senior Lecture in Composition at Goldsmiths, University of London. He has been on the board of the World Forum for Acoustic Ecology since 1997.
Secret Mercy tracks's are oscillating in between two stories, as in Haruki Murakami novel “The End of the World”. All the tracks were recorded in Febuary 2013. Field-recordings are from France, Korea, Japan, Laos, Canada, recorded in between 1999 and 2012. Voices, Thomas Sinou, Dominique Blais, Dinah Bird, Caroline Bouissou, Beatrice and Florence Castonguay, The Sauvillers Family.
Emmanuelle Gibello is developing a practice combining visual art and electronic music. She uses new technologies for field recordings from both natural and urban contexts, real time performances or works incorporating networks.
Her sound collection contains archival sounds from the quotidian as well as more thematic research conducted during her travels and is the starting point for her compositions and live sound mixing. Emmanuelle Gibello considers the relationship between sound and image, soundscape and memory. She revisit urban space aesthetically through sound.
All tracks composed by Kadet Kuhne mastered by Ryan Kleeman released by FIBRR Records
Intervallic – clarinet by Giselle Eastman, percussion and vibraphone by Suki O’Kane. Quantum Tunneling – remixed by Kadet, original music by Christopher Willits, sampled from the album Tiger Flower Circle Sun (2010, Ghostly International), published by Overlap Music (ASCAP). Prelap – vibraphone by Suki O’Kane, contributing sounds by Kent Jolly & Jonathon Ganzmann. Distill – contributing sounds by Christopher Eickmann & Jordain Wallace. Rite of Passage – percussion by Suki O’Kane, clarinet by Giselle Eastman, contributing sounds by Hilary Reed.
Kadet’s most collaborative album release to date, Gradient Wake is slight shift in direction with many points of inspiration. Her background playing jazz guitar and listening to minimal composers is at the root, with particular influence by artists Chicago Underground Quartet, The Necks and Steve Reich. This album also reflects freshly formed, integrated relationships with the contributing musicians as well as her new family triad; spontaneous, improvised participation in which art and life mirror one another. A couple of the compositions on Gradient Wake were not only inspired by witnessing the birth of her son, they were also directly motivated by Kadet’s passion for the moving image; Distill, Quantum Tunneling and Fight or Flight were composed for videos by Kadet, Intervallic was composed for a Super 8 film by Paul Clipson and Rite of Passage was scored to a video by Krystof Pesek.
Tonesucker are a trio based in London and Suffolk, UK. They work with electric guitar and synthesised sounds - sounds they describe as “fundamentalist”. They often record on location incorporating soundscape material in their work. Although they are sometimes classified in terms of drone music, Tonesucker have been working in a characteristic way since 2006 combining improvisation and composition with a sense of the occult history of the places they play live and record in, crossing the borders between post-rock, noise, free improvised and electro-acoustic music, and accompanying performances with austere and abstract films.
A typical Tonesucker piece will move between extremes of loudness, musicality and discipline, sometimes sounding delicate and minimal, sometimes intense, machinic and visceral. Though largely improvised and never rehearsed, Tonesucker work under constraints. A musical or other sound-shaping rule will be agreed in advance. This can be the requirement to use only a certain note, or a certain sound, or to observe certain 'shapes', or to follow the film as a visual score. Pieces commonly exhibit the rule at the outset with the task to explore, stretch and battle with it until it can be tolerated no more. Things break down. Literally unruly passages follow as the restraint is tugged against, mocked or negated. Tonesucker may return to where they started. They may move into unprepared territory. They may establish a new rule. Or it all may fall apart into a messy shambles.
The pleasure of Tonesucker is in the pain of restraint.
1 Omnia Convivia Crastina Pars Secunda (16.54) - download aif
Live performance at All Tomorrow's Parties, Minehead, December 5, 2009.
2 The Wrong Wire (07.20) download aif
Composed at Slaughterhouse Studios, Coddenham, Suffolk, England, at Albion Works, London, England, and at Estuary Crescent, Shotley, Suffolk, England, November, 2010.
3 Nantes Report (09.10) download aif
Composed at Albion Works, London, England, December, 2012 from live performances at Beyond Signal #9, APO33, Nantes, France, March 5, 2010.
4 Sub Rosa (26.09) download aif
Recorded live at Musatelier, Impasse des Rosiers, Saint-Dizant-du-Gua, France, March 7, 2010.
Photograph taken at the graveyard of St Mary's Church, Harmondsworth, England in the shadow of the UK Border Agency's Immigration Removal Centre.
The album Sub Rosa (to be debuted on Berlin's 88vier Radio on Tuesday 22nd January 2013) follows last year's Omnia Convivia Crastina (Onoma Research) which appeared in A Closer Listen's Top 20 Albums of the Year as well as in their Top 10 in the Drone category. Sub Rosa's four tracks examine the psychogeographical resonances of the places they were recorded, all of which are close to a river or estuary (the Rivers Severn and Orwell in England, the River Loire and the Gironde in France) and so suggest voyages, pilgrimages, migration - a sense of loss of home or being adrift but also trade, connection, messages from elsewhere, hope.
Sub Rosa is released by Fibrr Records with the cooperation of APO33, 88vier Radio, CoLaboRadio and Onoma Research.
Tonesucker appear live in Berlin at Salon Bruit, Tiefgrund, Laskerstrasse 5 on Thursday 24th January 2013.
1. crystal, 31 m 46 sec, stereo, 48 khz 24 bit download
2. symmetry, 31 m 46 sec, stereo, 48 khz 24 bit download
improvisation/experiment with electromagnetic amplifiers, hewlett packard test oscillator, super saturated solution, sugar crystals, touch. track 1 is the original recording, track 2 is a symmetrical reflection of the original.
recorded during artist residency at Studio XX, Montreal, Canada, Fall 2012
British Columbia born artist Erin Sexton explores matter, energy, space, and time through sound, performance, installation, and video. Drawing from theoretical physics and mysticism, her work is both rigorously conceptual and playfully improvisational. Through analog electronics, electromagnetic fields, pseudo- science projects, and phenomenological experimentation she creates direct links between lived experience and the processes of nature, from the sub atomic to the astronomical. She collaborates most often with Magali Babin (CA), Julie Rousse (FR), Pascale Barret (BL), and Alexander Wilson (CA, as Ænth). She has released 2 albums: Horizon (2011, les encodage de l’oubli) and Aircraft (2004, independent), and is featured on multiple compilations. Her work has been presented across North America and Europe. She has lived and worked in Montreal since 2004.
Recorded August/September 2012 in London.
All source material from web browser based real-time audio synthesis and many-to-many vector mapping via TiberSynth v0.1 (Cory O'Brien 2012)
INTERSECTION Radio was a project co-programmed by various artists with the support of apo33.
Intersection - 2004/2005
Alain de Filippis, Basso & Olivier Toulemonde, Cedric Pigot, Formanex, Emmanuel Leduc, Roel Meelkop, Helmut Schäfer, Jaap Blonk, Jason Kahn, Jfrede, Joerg Piringer, Julien Ottavi, Junko & Mattin, Karl Jensac & Helmut Schäfer, Luc Kerléo, Ercklentz & Neumann, Mattin, Natassia Kouliev, Pascal Broccolichi, Pyo, Will Guthrie
With this project/broadcast, we wanted to explore the question of the diffusion of sound on the Internet. This exploration was organised in different times and following different modes. First come a time of presentation, installation : we proposed to some artists that they create one or several pieces, with no limit in duration. The various programmers question their own network of artists to whom they present the proposition in their own terms. The result was first playlist which is broadcast for the first two months followed by a new playlist etc. - as usually practised by traditional radio stations, but without a disc jockey and with pieces that can last between one second and several hours. The idea was not to present systematically something new, like most common radio stations usually do, but rather to try and create a work group of sound artists with different techniques and outlooks to explore the opportunities of the webradio (a medium involving sound transmission on the Internet through audio streaming). The artists in the work group perform in the firsts playlists according to the themes chosen by the programmers ; they can also collaborate on different themes, in future playlists. At the heart of this project, lies the will to create another radio, different from the radios (hertzian or Internet) we come across every day. There are currently no stations that broadcast sound pieces by sound artists or contemporary musicians, that last more than 5 minutes â except from full Cds and downloads. This project was a collective work in progress with many possible variables.
THIS RELEASE IS ALSO AVAILABLE AS USB KEY (16Go) WITH ALL THE PIECES AS MP3 & WAV (not compressed format)
I taught biology few years in the 90's before devoting myself entirely to my art work. As an artist, i practise installations, videos and performance mainly. “Les cerfs ” is my solo project in the field of experimental music. Music can exist as independent media, and it can act as a sculptural material in the plastic work (sound tracks in videos, installations or in the work of performance art). It may take the form of noise climates, organic textures, but it can be built in a more chaotic and rhythmic approach. Another part of my sound work uses textual elements, or attempts to bring elements of improvisation in more composed pieces involving voice. I am interested in the relationship between music and its mode of theatrical representation, and particularly the relationship between music, sound experiments and the “scene” of the performing arts, in its prospects of meeting and hybridization. My work involves the animal body, and I try to push the boundaries of the physical presence of the body on stage
chaos audio teorie - extrange attractors–[from mathematical functions to organic jungle sounds]
EP: one track 25 minutes + code (pure data)
Release generated from the heretical use and the experimentation with the sonic possibilities of the iterative function “logistics” in a “complex number” versión [real+imaginary].
Inspirated but desviated from the research and work by “Elaine A. Walker” http://www.ziaspace.com/elaine/chaos/ChaosMelodyTheory.pdf
f(xn+1) = 1 – rxn2
adding chaos to the chaos
jumping from attractor to attractor
3d Fractals modulate the temporal frequency of the iterations (Chaos PD external by Ben Bogart) Audio generators : I used [polywavesynth] a polyphonic synthesizer for Pure Data by Phil Stone http://www.pkstonemusic.com/polyWaveSynth.html and some other more simple oscilator, [nqsint] + FM-AM .
After record some audio blocks using the code included. I edited and mixed them into Ardour.
software : Pure Data + Ardour Linux: Ubuntu Karmic Koala
Download Audio VBR MP3 31mbhttp://www.archive.org/download/eetz_noish/eetz_noish.mp3
Download Audio WAV 256.6 mbhttp://www.archive.org/download/eetz_noish/yupana_c_a_t_noish.wav
web +audio +info + code NOISH
Everything London Concrete 2008-10. Cover art, edits and Retrospectre's I, II, III by Seth Guy, 2010.
Retrospectres is the last LP of London Concrete and uses material we were working on prior to our demise in the summer of 2009. Since then I've noted our popularity has steadily increased, particularly in the US and Europe as more people discover the breadth of our output. I've been pleased to receive both invitations to perform, to release works, and notably to the many who have conveyed thanks and positive words about what we did. Finally, I am very grateful that Julien has given me the opportunity to put LC to rest with this album. London Concrete 2006-2009. R.I.P.
Special thanks (in no particular order): The Mother, Stinky & Hannah, Chris n Tim Savage, Chris Fazio, Mark Pearce, Pedro Rocha, Nazmeen Latif, Mr. Nick Brown & Charlotte, Robert Pepper & PAS, Julien Ottavi, Ian Simpson@Electronic Music, Dave Phillips, Maria Tidball-Binz, Steve Marshall, Amps For Christ, Tamon & Ed@ILL FM, Ryan Jordan@Noise=Noise, Lizzie Sells, Kommissar Hjuler & Mama Baer, Joel Cahen, Wajid@ScrapClub, Richard Whitelaw, Scant Intone, Mark Aitkin, Pat Bone, Remora, Vibejays, Ascsoms, Sykora, Marcel & Jeremy@Bow Arts, Anne Bean, Tom Bailey, Pete Johnstone@Second Layer, Mar & Monica, Iwonka, Resonance FM, Heathen Harvest, Phil Julian, Mark Whettler, Adrian Pye, Andy Lane, Sukran, Claire Davidson, Linda Himbert, Magda Kondracka, Mrs Venson, Viv Blanchard, Victoria Davenport.
About London Concrete
Formed in January 2006, London Concrete are artist Seth Guy (Brignell) & Dee Bowen. London Concrete’s improvisations utilise plunderphonics, field and concrete recordings, reclaimed objects and hacked electronics, instruments, voice, contact microphones and manipulated technologies such as jumping speakers and pick-up coils. In juxtaposing everyday and alien sounds and re-contextualising found texts and visual art sources they create unique collaged recordings and performances. London Concrete provide an alternative perspective of contemporary sound art and experimental music, injecting into it more physicality, humanity, chance and play; away from tightly controlled laptop and digitally-driven composition. Their evolving and exploratory approach to sound making has included work for theatre, radio, dance and live performance. They initiated an ongoing collaborative network via MySpace with other artists such as Amps For Christ, Kommissar Hjuler & Mama Baer and Dave Phillips, and have also worked directly with performance artist Anne Bean, Joel Cahen/Spax, poet Mark Anthony Pearce and dancer Lizzie Sells. London Concrete's work has been published on a number of occasions, strengthening their massive recording output most of which is available to hear online. London Concrete became defunct in the summer of 2009.
Second Thought / Same Palace (VIBRIRRR004)
Born Penang, Malaysia Goh Lee Kwang (family name Goh) is internationally recognized sound artist from Malaysia. He has created sound installations, sonic-visual interactive installations, single channel videos, multi channel videos, electro-acoustic improvisation music performances, tape music, works for radio broadcasts and soundtracks for theater / dance / independent movie. They are shown in various festival, galleries & independent art space in Asia as well as in Europe. Goh's works focus on the various possibilities of both natural sound and recorded sound, crossing the boundaries of digital and analog, electronic and acoustic, go beyond language, allowing audiences to experience the work directly, and in their own personal way.
. buy it on CDr - 10€
“Bed&Hearts” - (VIBRIRRR003)
by Jenny Pickett & Julien Ottavi
“The Bed” for the majority of us homosapiens is, in one form or another, the place where life is created and where life is brought to an end. Indeed, many of us will spend at least half our lives there. “The Bed” a place of so much human activity and seemingly inactivity, where imagination gives birth to new ideas, dreams solve unanswered questions, the territory of both beautiful and deadly passions. “The Bed” is witness to the raw desires an hidden dramas of the ongoing human dramas. Jenny Pickett and Julien Ottavi explore the interia dimension of the bed's sonic space, it's reverberations with the flesh and metal pulses of the object and it's inhabitants.àà Bed&Hearts includes recordings, made during pregnancy using ultrasound sensors, which capture the sounds of their unborn son Marlon (2008).
buy it on CDr - 10€
“collaboration in NYC : more than 30 hours of music” (VIBRIRRR001)
Buy it All on DVD (MP3) - £10
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