Fatcat’s split series has been ongoing since 1997, and after this 12″ is released, only one will remain.  The series predates the digital age and has managed to last into the vinyl resurgence.  Previous installments have featured Third Eye Foundation, Fennesz and Kemialliset Ystävät, proof of the label’s dynamic choices.  Katie Gately and Tlaotlon continue in this tradition, offering sounds that are simultaneously fresh and mysterious.

Katie Gately was last heard on a 7″ split lathe cut from FET Press, who brought us the stellar Line Drawings not too long ago.  On “FAR”, Gately’s experiments in voice lead her to strange places: echoes, doublings, stutters, drones.  Prior to this, and more widely circulated, came a self-titled mini-album on Public Information and a critically acclaimed cassette on Blue Tapes.  These stunning salvos were declarations of a major new artist, straddling the fields of experimentation and electronics, doing the sort of…

Welcome to the final installment of Hearing the UnHeard, Sounding Out‘s series on what we don’t hear and how this unheard world affects us. The series started out with my post on hearing, large and small, continued with a piece by China Blue on the sounds of catastrophic impacts, and Milton Garcés’ piece on the infrasonic world of volcanoes. To cap it all off, we introduce The Sounds of Science by professor, cellist and interactive media expert, Margaret Schedel.

Dr. Schedel is an Associate Professor of Composition and Computer Music at Stony Brook University. Through her work, she explores the relatively new field of Data Sonification, generating new ways to perceive and interact with information through the use of sound. While everyone is familiar with informatics, graphs and images used to convey complex information, her work explores how we can expand our understanding of even…

SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig.  You’re welcome!

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Several years ago—after working on media art, myths, songs about invisible networks and imaginary places—we started a series of sound art projects about America. In making these public sound artworks about our country we ask ourselves questions about funk, austerity, debt and responsibility, aesthetics, and inheritance. We also attempt to reckon with data, that which orders so much of our lives with its presence or absence.

We are interested in how data might be understood differently once sonified or made musical. We want to explore what kinds of codes are embedded in the architecture of American culture.

Big House/Disclosure

The first sound art project in this vein that we completed in 2007 was entitled Big House / Disclosure. Northwestern University commissioned