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Saturday, 26 July 2008

Pali Meursault - Sur Place 3, Saint-Martin-d'Hères

Site-specific composition for cello, recorded during the night of the 4th of February, 2007, in the concrete basement of the future biggest swedish furniture store in Europe. Mixed & mastered in La F* de B* studio, Grenoble - France, 2007 - 2008. Thanks to Ici-Même.

Sur Place 3, Saint-Martin-d'Hères (18:25)

Friday, 18 July 2008

Goh Lee Kwang - Stormy weather, Bukit Mertajam, Penang, Malaysia.

Recorded at my parent's house, my hometown, Bukit Mertajam, Penang, Malaysia in June, July, and October 2007. All sources are 4'33", for no particular reason other than it is a magic number. The mix was made recently with noise reduction and EQ applied.

Stormy Weather, Bukit Mertajam, Penang, Malaysia. (13:46)

Wednesday, 16 July 2008

Nikos Veliotis - Mugs on Speed

9 tea mugs were put on a wide piece of marble, fed amphetamines, and recorded while dancing.

Mugs on Speed (12:30)

Thomas Tilly - Le passe muraille

“Le passe muraille“ is a stereo recording of a highway bridge which marks the limit between the center of the city and the suburbs. The two microphones are placed under the bridge at the junction point with the road.The right channel corresponds to the entry of the vehicles on the bridge and the left channel, the route the vehicles take to quit the center of the city toward the suburbs.

Realized in Poitiers (France) in february 2008, unprocessed field recording.

Le passe muraille (8:27)

Jez riley French - recorded clear input improvisation 202 (.24)' (1995)

This is one of my earlier pieces made using what I called clear input methods - ie. no 'instruments' were involved in the conventional sense - just a feedback loop created by plugging the output to the input on a guitar effects pedal in this case. I spent several years recording pieces using these methods almost every week & recently I've been listening back to some of the early ones. I guess since Toshi Nakamura & others brought no-input music to a wider audience it is possible to re-visit these pieces, which at the time were met with various negative reactions. Mostly it was assumed that this approach was 'extreme' & 'confrontational' - however, for me I enjoyed the detail and the subtle aspects - the way the music could be affected by the smallest action and how the results were always a combination of focus and elements of chance. I found it a method that helped bridge the divide between free improvisation and composition in a different way.

This piece was found on a disc labeled 1995, which featured recordings made to tape and to an early cdr machine. From memory I believe this was one that I recorded direct to cdr. A version of this track was previously released on 'Brzeska - volume one' though that version was the later transfer.

Recorded clear input improvisation 202 (.24) (12:55)

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