by Francesco Cavaliere & Tomoko Sauvage
experimental, ambient, electroacoustic, electronic, modern classical
Francesco Cavaliere and Tomoko Sauvage embody a tactile audio visual display, radiating the colour green into sounds and painting meditative music…For their installation and performance, Cavaliere and Sauvage assemble a green cabinet of curiosities – an instrumentarium combining water, glass, clay, bamboo xylophones, metallophones and synthesizers. Tomoko describes in an interview: “When you are actually surrounded by green musical instruments, it has a calming effect as if you were looking at a forest or mountain.”
Starting to wind down a bit as I’m planning to take some time off in August to finally complete projects of my own and see to some life things finally 😁
In the meantime here’s an eclectic collection of throwback tracks worth listening to…
2018 – Experimental track using a 4ms Spectral Multiband Resonator, PEG, Mutable instruments Clouds, Braids, Tides, Kinks. Frequency Central Ultrawave and Wave Runner LFOs, Fonitronik TH 555 VCO.
Mutliple layers of tracks recorded in Ableton. A bass track added using Abletons Analog synth,
Jana Winderen – Frozen Signal
from Spire Live in Berlin by Spire
classical, experimental, organ
by Allysse Riordan
by Lydia Ang
experimental, collage, curious, fragile, hiss, intuitive, journal, loops, lullabye, notes to shelf, sketchbook, sound art, ukulele, wyrd
My forest Is Deep
by CLARA GAZUL
devotional, ambient, dark, dark ambient, drone, electro, experimental soundtrack, experimental electronic, gothic, melancholy, soundscape, soundtrack, theatrical
A little late but better late than never…
by Marta De Pascalis
Alien Bog/Beautiful Soop
by Pauline Oliveros
classical, avant-garde, contemporary, experimental, experimental electronic, tape music
Since it was Canada Day last Thursday I reposted this playlist for #throwbackthursday…
Eclectic Electronic Soundscapes –
“Recent lists of pioneering women in electronic music have bolstered the fact that women were right there making significant work during the nascence of electronic music, from the late ’50s to ’70s, on a quest for sounds and sequences never heard before. Yet most of the women who helped pioneer electronic music in Canada don’t pop up in those lists. On the surface, the early electronic era in Canada looks like a man’s game, yet looking a little deeper you’ll find Canadian women on the margins, surrounded by tape machines, computers and instruments of their own making.” – Red Bull Music Academy.
They still are at the forefront and this playlist is just a jumping off point….. Artists are –
Ann Southam, Hildegard Westerkamp, Marcelle Deschenes-Harvey, Shimmer Crush, Helena Krobath, Jessica Gabriel, ambient – sonic, Roxanne Turcotte and Rose Bolton.
Here are a few articles you may enjoy that also include listening…
If you are interested in Sound Art, I have just found this great site The Thames Submarine that combines audio and video into a deeper exploration of the sound art practice of artists – as it states An online space for sound works and ideas.
Here’s one of my favourites but it is well worth looking at the archive and listening on soundcloud
Deeper Listening: An Introduction to Drone Composition
By Vanessa Ague · May 17, 2021
The Wall-Shaking Delights of Stockholm’s Experimental Drone Scene
By Samuel Tornow · July 28, 2020
via The Wire Magazine on twitter here’s a wonderful collection of sounds, archive, writings from Nameless Sound….everything you would wish to know about Pauline Oliveros from the Nameless Sound archives …
Today I came across a discussion of how the history of electronic music often omits the women who had a major role in it’s development technically, as well as sonically.
I am putting together a few thoughts on this for a future post as it’s not so clear cut and to be honest, there aren’t many now, who haven’t come across the names Daphne Oram or Delia Derbyshire, via their social media platforms.
Not denying their importance at all but I do feel there is a pedestal effect which is often western centrist and white. With this in mind and back to my original morning read, I came across a discussion that sought to question, rightly, this western view, with a few suggestions of women from around the world AND a great mixcloud playlist.
“This episode is curated by theorist, collector and artist Cedrik Fermont.
Cedrik writes: “This mix took inspiration from Sisters with Transistors, a film that raises awareness about female pioneers in electronic/electro-acoustic music who have often been ignored or whose role has been minimized but unfortunately the film fails to include non-Westerners who were also active from the 1950s onward… I understand that one cannot include every single pioneer but failing to include non-Westerners is comparable to when male’s narrative excludes women. This is not the first time I notice this kind of behavior and my guess is that it is not only about gender, but ethnicity and sometimes class too. This criticism doesn’t mean that it’s a bad film, nevertheless it is incomplete”.
by Lucette Bourdin
ambient, atmospheric, electronic ambient, new age
Les Chants de Milarepa
by Éliane Radigue
Songs of Milarepa (1983), 139’24
experimental, acousmatic, electroacoustic, electronic experimental, musique concrète
Éliane Radigue (1932-)
“Éliane Radigue was born in Paris. She studied Musique Concrète techniques at the “Studio d’Essai” of the RTF under the direction of Pierre Schaeffer and Pierre Henry (1956-57). She was married to the painter and sculptor Arman and devoted ten years to their three children. She then worked with Pierre Henry, as his assistant at the Studio APSOME (1967-68). She was in residence at the New York University School of Arts (1970-71), the University of Iowa and the California Institute of the Arts (1973) and Mills College (1998). She has created sound environments using looped tapes of various durations, gradually desynchronising. Her works have been featured in numerous galleries and museums since the late 60s and from 1970, she has been associated to the ARP 2500 Synthesizer and tape through many compositions from “Chry-ptus” (1971) up to “L’Île re-sonante” (2000). These include: “Biogenesis”, “Arthesis”, “Ψ 847”, “Adnos I, II and III” (70s), “Les Chants de Milarepa” and “Jetsun Mila” (80s) and the three pieces constituting the Trilogie de la Mort (1988-91-93). Since 2002, she has been composing mostly acoustic works for performers and instruments. Her music has been featured in major international festivals. Her extremely sober, almost ascetic concerts, are made of a continuous, ever-changing yet extremely slow stream of sound, whose transformation occurs within the sonic material itself.“
by Ellen Fullman & Theresa Wong
experimental, contemporary classical, long string instrument, minimal, new music
“… shifting drones, aberrant melodies and glistening atmospheres.”