Sound Propositions is an ongoing, semi-regular series of conversations with artists exploring their creative practices and individual aesthetics, conceived of as a counter-narrative to a dominant trend in music journalism which fetishizes equipment and new technologies. Rather than writing copy that can just as easily have come from a press release or a catalog, this series tries to take the emphasis away from the ‘what’ and shine light on the ‘how’ and ‘why.’ You can find the previous eight interviews, as well as additional articles and features, here.

There’s a school of thought amongst field recordists that favors alienating oneself from the provenance of one’s recordings in order to hear the recordings with fresh ears, and to better respond to the sound as a material object (or sound object) in itself. This practice can make the reduced listening preached by Pierre Schaeffer and other musique concrète composers easier…

I’ve organised a Rasberry Pi streaming workshop for Radio Arts happening on the 26th June at Horsebridge Arts Centre full details at http://www.youarehear.co.uk/radioarts/workshops/

Those who only know Peter Kutin from last year’s excellent sound collage Burmese Days may be surprised at the sound of the new label founded by Kutin and Peter Kindlinger.  Only one of the first two releases is field recording related, and even the untreated Decomposition morphs into an electronic work by the time it has ended.  But only a few years ago, both were part of the quartet dirac, whose drone-like, single-track album Phon is still one of our favorites.  In Kutin / Kindlinger / Kubisch, the participants’  names are no longer obscured.  The label’s other preliminary project, Ventil, hides the names of drummer Katharina Ernst and visual artist Conny Zenk, but we suspect it would have been confusing to call the quartet Kutin / Kindlinger / Ernst / Zenk.

This latter trio is responsible for the label’s first release, a wise move as the name of the…