Enter – m’scape 10 – directly here
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m’scape X
includes following artists—>
N.B. Aldrich & Zach Poff (USA)
Arcanum – Alan Lechusza (USA)
Back Ted N-Ted aka Ryan Breen (USA)
Becoming Animal (~)
Martin John Callanan (UK)
hp stonji aka Hans Platzgumer & Jens Döring (GER/Austria)
Panayiotis A. KOKORAS (Greece)
Peter Prautzsch (Germany)
Rovar17 (Hungary)
Jake Whittaker (UK)
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N.B.Aldrich
artist biography
Zach Poff
artist biography
Title:
The Baltic Sea
(2004), 4’33”
The Baltic Sea (2004) was created as part of the performance piece Variatsioonid, by MAP Intermedia, during a residency at Polli Talu Arts Center in Vatla, Estonia. The audio components were recorded during our stay there. The mix is done in real-time during the performance, generated by a computer program that monitors a video, also of the Baltic Sea (which we shot while there as well), which is used as the backdrop for this section of the performance. The computer program uses information gathered from the activity of the pixels on the screen to make varying decisions about how to mix the different audio tracks. This version is taken from the FOH mix desk of a performance at the Stonington Opera House in Stonington, Maine, USA, in September, 2004.
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Titles:
1. Alan Lechusza composition
2004/05 (running time 6 minutes)
Work for Electric Cello and Processed Woodwinds: Sounds are stretched through a turbulent array of procedures and strategies etching toward an imagined ceiling. Sounds fall apart as quickly as they are erected only to be realized within their dynamic soundspan.
2. Ori Barel composition
2004 (running time 4 minutes)
Work for Saxophone and Electronics: Minimal complexity embracing pressure points along a continuum of techniques. The saxophone revisited in an electronic world not so far from it’s
acoustic cousin.
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Titles:
1. Emo Bar
2005, 3:37
Emo Bar is an attempt to arrange sporadic sounds and sample into a linear and tonally correct
composition incorporating original poetry.
2. Sorted and Oriented
2005, 1:41
Sorted and Oriented uses digital processing and New York Subway Recordings to disguise the voice of the artist.
3. Casio Song
2004-2006, 1:31
Casio Song is a stripped down attempt to create a melodically interesting composition incorporating spoken word digital effects and an early eighties casiotone keyboard.
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Interview for SIP – SoundLAB Interview project
Titles.
1.”Like Water in Water”
2006, 3:36
“A drop in the ocean”
2. “The Arctic Used to be Really Cold”
2006, 2:31
“As the water gets warmer our iceberg gets smaller.”
3. “A bird probably”
2006, 0:59
“I tried to understand their language better. Without having recourse to mine. They were the longest, loveliest days of all the year. ”
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Interview for SIP – SoundLAB Interview project
Titles:
1. 041209-032004, 4.14
Audio originally released by MirakelMusik (Sweden), and online. Constructed from intercepted satellite communications in Latvia. Added to the SONUS online archive, Canada, in September 2005.
2. 041209-07
2004, 2.52
041209-07 was performed on February 9, 2006 at ÉuCuE (Électroacoustiques Université Concordia University Electroacoustics) 2005-2006 Series XXIV, Oscar Peterson Concert Hall, Concordia University, Canada. A 20 speaker sound projection sonore was used.
3. 041209-09
2004, 2.58
As part of the FRAMED Broadcasts, 041209 was played in full, with additional previously unreleased tracks, on Resonance 104.4fm: 23, 24, 25 March 2006 between 1-7am, and 24 and 30 March 2006 between 7-8pm.
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Title:
piano expeditions, 2min51s, 2005
Hp.Stonji’s music speaks instead of it being spoken. While the duo’s sounds were purely digital on their first releases “Metic” and “Melaina Cholé”, they now introduced classic analouge instruments to their sounddesigns: a concert piano, a church organ and a classical guitar. Whereas Freidrich Gulda’s favourite instrument apparently turned out to be a japanese digital piano, hpstonji now use the warmth and complexity of the sounds of a real piano instead. They transform it into the cold, abstract digital world. This makes the ping-pong play of their numeric encodings suddenly become something transparent, something seizable which finally is vanishing into non-codeable patterns. The analouge sound travels to the digital wastebin and its potential and inspiration that slumbers at the binary edges of the data. In Hp.Stonjis laptops molecular chains of sound-stuttering organise new languages. They make new kinds of sound-statements and sound-asthetics. They create multi-dimensional listening: sounds that bend their own ranges. Their sounds and beats move ahead and back between the beauty of analouge tonality and their mutations and variations. In most parts the root of sound remains recognizable. And always it remains something else: pop music. pop music for advanced listeners that is, but pop. Aural stretchings, bendings and breakings of what we are used to hear. And just like the music, along with it travel their visuals: short films and clips and stills by Munich-based videoartist Georg Gaigl. They also started out in the real world and eventually collapsed in outer reamls. Two films are simultaneously projected onto the laptop cases of the musicians, as they hide behind them. As they are merely projections on the backs of their powerbooks.
Whatever is real and what isn’t: Hp.Stonji’s music is.
And do remember what R.A. Wilson said: There ain’t such thing as water. It’s just melted ice!
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Title:
Anechoic Spin
(2003-2004) for tape, Duration 5’
The life of the piece began in York, England in August 2003, where most of the sound material recorded at the anechoic chamber at the University of York. A couple of months later I returned back to Greece after a long stay in England and I restarted to work on the material at my personal home studio. However, a new move stopped me again from its development. Finally, everything came together one year later during the summer of 2004 where the piece finished at the Mastering Studio of the Department of Music Technology and Acoustics in Rethimno, Crete.
Having the luxury to work without deadlines and on a non real-time environment I tried to refine and control the finniest sound detail. I tried to create a kind of virtuosity of the medium. The sound material, not easily
recognized most of the time, undergoes a rather simple transformation in terms of sound processing using editing tools such as hard-limiting, maximizers, cut n paste, dynamic envelope changes, time stretches, and binaural spatialization.
The work is dedicated to the composer Sungji Hong. – Panayiotis Kokoras, Rethimno August 2004.
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Interview for SIP – SoundLAB Interview project
title:
of salt and water
(version2, 2006)
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Titles:
I. Felhõk – Gyilkos Bába Verzió
Clouds – Murder Midvife version
2005, 20:13
Ultrahang Fest, Budapest, 2005
II. Nincs Több Fájdalom
No More Pain
2005, 3:58
Havizaj, Budapest, 2005
III. Lélekinda
Soulcreepera
2004
9:45
Sziget Festival, Budapest, 2004
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Interview for SIP – SoundLAB Interview project
Titles:
1. Evidence of Activity
2006, 8min
This work uses an improvised stylus on a displaced tone arm from a found HiFi (part of a Pro-line HiFi system). The Tone arm was adapted to be allowed freedom to move onto an adjacent turntable or to play other objects around the studio. The stylus is crudely made, having two points of hard wire taped to the pickup headshell. The sounds are generated by leaving the tone arm on an adjacent record (The World of Johann Strauss) while a nearby printer printing a document shakes the table vibrating the tone arm creating the work. The sounds are amplified and through a found Genexxa mixer and are effected by the built in echo effect.
2. Adapted Vinyl
2003, 3min 15sec
An early experimental work using two turntables with improvised adapted styli, one a staple the other a more flexible two pointed piece of wire.
3. Loveloops 00
2004, 4min 03sec
Several ‘Dansette’ style record players combine loops from different classic love songs. The recording has a particular sound owing to the fact that there was no mixer used, the turntables were arranged in an arc on the floor around an old Sony microphone. The internal speakers were used while the volumes are adjusted individually.
General statement
All my work uses found objects. My aim is to use them as much as is possible, in the state in which they are found. The problems leading to their being discarded being an important part of the composing process. Any repairs carried out are basic and merely to achieve some sound production. All work is then produced live without headphones using randomly selected loops from often randomly selected records. By making work in this way I hope to reassess the nature of the objects and their ‘useful’ life, explore notions of musical consistency and examine the ontology of recorded sound.
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