SoundLAB - sonic art projects

edition04.f. m’scape 05

Enter – m’scape 05 – directly here


m’scape V
is featuring these artists—>

Martin Stig Andersen (Denmark)
Donald Bousted (UK)
Audhild Dahlstrom (Norway)
Decker/Fuchs (Austria)
Dorsey Dunn (USA)
Matthew Giraudeau (UK)
Paulo Henrique (Portugal/UK)
Le Tuan Hung (Vietnam)
Mental Youth aka Robert Kroos (USA)
Paula Roush (UK)
tinydiva aka Margaret Jameson (USA)
Peter Wadham / Susannah Brown (Australia)


  • Martin Stig Andersen
  • artist biography

    2004, 8:07”
    Are Ua sleepdriver by any chance???
    Composed in the City University Electroacoustic Music Studios, London, and the composer’s personal studio in Denmark 2003-2004.
    Commissioned by the Foundation Ton Bruynél, the Netherlands.


  • Donald Bousted
  • artist biography

    Interview for SIP – SoundLAB Interview project

    1. A Memory Game
    2002, 13mins
    Uses recordings of my parents as they disentangle memories attached to 5 photographs. The work examines their personalities, their relationship together and, to some extent, their relationship with me.

    2. she heard a song within her mother’s voice
    2002, 12mins
    An electro-acoustic piece based on spoken and sung vocal sounds. Preoccupations include memory, genetic hard-wiring and emotions associated with reproduction.


  • A u d h i l d D a h l s t r ø
  • artist biography

    1.Me and My Sister’s Cat
    Year: 2005, 4min 36s
    Sounds recorded from time spent in family home with my sister’s cat.

    2. Something little less comprehensive
    2005, 1min 57s
    A product of experiencing the 7.7 London bombings.

    3. Bethnal Green
    2005, 3min 18s
    Lighter and brighter summer nights, Bethnal Green, London.


  • Markus Decker /Wolfgang Fuchs
  • artist biography

    Title: AEROM, 2005


  • Dorsey Dunn
  • artist biography

    1. FE
    2003, 20:00
    FE began as a 12-channel site-specific sound installation. Composed of women’s voices and underpinned by acoustic and electronic instruments, FE fills a room with the sound of intimate but fragmented conversation. Touring the room at random reveals multiple and continuous linkages of speech, the tones of which are not normally heard in the public sphere. From the center of the room, the resulting environment is a diffuse, musical murmuring. As the listener moves about the space, particular stories come into focus. Thoughts heard cover a landscape of personal concerns: of time, its richness and evanescence; of gradual awakening; of
    travel and homeland; of the influence of others’ lives; of dance, writing, and theater. The voices in FE were drawn from dozens of conversations recorded with the artist. FE is a highly personal interpretation of the memories, meanings, and aspirations implicit in speech.
    It is an aural view of the wondering self. It is a series of recollections, remembrances, and visions of the future expressed in language that ranges from the mundane to the epiphanic. At the same time, FE examines the human perception of voice as it ranges from the comprehensible speech that emerges from each speaker to the complex tone arrangements that occur as the voices and instruments mix in various combinations throughout the space. As a stereo audio piece, FE retains the sense of drift from clear voice(s) to diffuse, layered
    tone. Running time is variable, as each input triggers on its own, but I would suggest a time of 20 minutes.

    2005, 9:09
    3Blanks is from a series of pieces composed entirely of alto saxophone samples. These were played by the composer and then restructured in digital space with a view to looking again at the instrument as an electronic sound source. The objective was to capture in the listener a memory-sense of the saxophone, in its tonality and timbre, but then to add a completely new set of aural attributes to that ‘sense’ of what a saxophone sounds like.


  • Matthew Giraudeau
  • artist biography

    Interview for SIP – SoundLAB Interview project

    2005, 2min 52 sec
    The piece is a defined methodology, a way of
    working that includes the openess of playing and recording live, but then re-alligning melodies to completely change the song. Each time a separate part is recorded, the same method is repeated. Each time the song changes, the composer attempts to grasp the new piece, but also to retain the memory of the original music. What evolves is not what was, but only a final
    snapshot of what is.


  • Paulo Henrique
  • artist biography

    “Flame A1” part of AROUND ONE
    2002, 11:58
    Concept for the audio» We opened a platform on the internet, so people could send sound samples (100% original) to be used in the project.
    These sounds were reengineered and composed to create a sound tissue. Two composers were invited to do this filtering of the sounds and each of them created one music. These musics/sound textures, were later produced and performed for vinyl record РAround One Рa 300 limited edition. A visual artist [Paulo Seabra] was invited to work on the cover design of the record and these 300 copies are numbered and signed and they are to be an independent piece of work besides the performance /installation AROUND ONE. It will be possible to listen the the final recorded pieces. In this way the intangible internet sounds (invisible/private) becomes the material vinyl (visible/public). Original concept: Paulo Henrique, Sound Collaborators : Rui Leiṭo + Valdjiu, Cover Design: Paulo Seabra, Executive production: Jorge Janela. Project Site:


  • Le Tuan Hung
  • artist biography

    Memories of Water
    2006, 6 minutes 14 seconds
    Memories of Water is a musical metaphor about the emotional experiences of human. We are emotional creatures and our emotions journey across many landscapes through time. Like water evaporating from the calm surface of a lake and travelling wildly through space before storming down to rejoin the peacefulness of a greater body of water, our emotional
    life moves in circles of joy and grief, of hatre and love. When will the wheel stop? Where would you like to stay in your emotional landscape?


  • Mental Youth aka Robert Kroos
  • artist biography

    Socks with sand
    2006, 9.35
    In the early 90’s I started serious productions mainly dance and house music. Back then I released quite some records also together with several other producers. (for instance Private Productions) During this time I got more and more focussed on making avantgarde and experimental music. Together with composer Frans Friederich I worked on a project called Recyclopedia. Lately I work together with musician/folosopher Cor Gout (Trespassers W) with who I explore the relationship of sound and spoken word. This will result in a soon to be released album called Gergelijzer. There is much more to say but this is a short impression of the things I do.
    The track is based on a dream my girlfriend had. She wrote it into a story and I have used the story as guideline for the composition. I’m using short scentences out of the story in spoken word. While I was working on it I became aware of the call for soundart. There the piece is of experimental character, has voice -sound/music integration and tells about memory and identity I decided to finish this piece to submit for soundLAB.
    Besides my own voice I use self made fieldrecordings like my watercooker and streetsounds. For this composition I also used many different kinds of vst ad dxi audiosoftware all in service to generate the kind of sounds I needed for this piece. For sampling I used a large area of sources coming from fieldrecordings of traditional music, old music, modern classical. I prefer not to talk too much and let the music speak for itself.


  • Paula Roush
  • artist biography

    1. arphieldRecordings-0503266130-03
    arphield recordings caledonian tube station london

    2. arphieldRecordings-0503266130-03
    arphield recordings brixton tube station london (16 days ago)

    3. arphieldRecordings-0503266130-03
    arphield recordings kings cross tube station london (16 days ago)

    arphield recordings
    arphield recordings is a new project documenting impromptu arphid sound performances produced by people scanning their oysters cards in the daily routine of access control to the london tube stations. the methodology of field recordings ­ documentation of site-specific soundscapes through audio recording equipment ­ is in this case focused on the sampling of sounds produced by the use of arphid (rfid) technology (cards and readers) complemented by digital processing involving sampling and synthesis from the source, speculating on the ad infinitum convergence of arphid tags and readers into an endless symphony of sound surveillance and compliance.

    the project started with the idea for an arphid mob, inviting friends to join me at a designated tube station for a semi-coreographed sound jam using our oyster cards. the main question was: when and where as a major impediment would always be the heavy security at all the gates. it was decided I would do some observation and this would eventually indicate the best timing and location for our arphid mob. observing the familiar tube’s access control gates, initially with no equipment and later with a video recorder, I realised that people were already engaging in impromptu sound performances. my documentation led me to discern varied patterns and even participatory scores, with mass arphid soundscapes punctuated by silences,
    glitches and cracks in the system, all warped up in an circadian rhythm of work-rush hours.

    the first arphield recordings ­documenting the impromptu sound performance of people moving through the London tube access control gates were done in brixton, kings cross and caledonian road tube stations during march 2006 for the tagged open house day workshop, when cds with the tracks and locational tags are distributed.

    the project remains open to contributions. one way of doing this is downloading the arphield recordings from and visiting the station gates with the sounds on a portable music player to experience a mix of live and prerecorded oyster beeps.

    Another way of participating is by contributing arphield recordings from a tube station access control gate. you can do this by opening an account and upload your recordings , tagging them as arphieldRecording followed by the number unique to your oyster card (as in


  • tinydiva aka Margaret Jameson
  • artist biography

    2006, 1:48
    “Altitude” is a short soundscape designed to trigger childhood fantasies of flying or memories of being in an airplane for the first time.


  • Peter Wadham / Susannah Brown
  • artist biography
  • SIP – SoundLAB Interview
  • Title1:
    1. Surrender
    (3:59 2004)
    A syncopated clock strikes twelve. We descend into the ghostly realm. A bassline played on samples of slapping my hand onto the end of a metal pipe. The clock reverberates backward and my voice appears, contorted through a 1970s vocoder.
    A hand-drumming pattern is applied in fractals. 3 sixteenth notes from a fleeting modern jazz solo have been captured and slowed an octave or two, to be reconfigured into early jazz riffs, heard now for the first time.
    The ghostly chords are played from a note sampled one day when a neighbourhood kid was constantly blowing a whistle. I just stuck a mic out the window and sampled it with a thickness of atmospheric noise.
    A cute, spooky piece inspired by music of the 1930s and minimalist funk. All sounds and composition are unique and the work mixed through analogue equipment.

    2. Smoshar
    (5:24 2003)
    is a collaborative piece by Wonderfeel and Shadowsense. The piece contains all original acoustic sounds and is mixed on an analogue desk.
    Smoshar is a reflective/meditative piece which identifies with a period of time long since past. Set in the early 1900s, where well groomed horses pulled black carriages, Smoshar offers the listener an opportunity to identify with a bygone era from an altered state of awareness.
    The experimental nature of Smoshar creates the sense of a warping of time. Drawing the listener into a dream like, hypnotic state. As our awareness becomes more attuned we begin to form images in our mind as we identify with the haunting sounds.
    Echoes of horses’ feet on cobble stones ring out, the crack of the whip, the town clock striking, echoes of a steam engine and a flock of birds passing overhead. Ending with the echoes of water dripping and a raven calling.
    In summary Smoshar begins by creating a sense of time displacement and then establishes its hypnotic rhythm. Slowly it introduces sounds of activity heard in the streets and climaxes as the sounds are heard collectively. Gently winding down the listener is left feeling at peace.