Given the qualities of this evening’s program, it is perhaps somewhat appropriate that all you would have heard is silence had you attempted to stream it live. While we have a hard copy of the show, it looks like the archives will be missing it, so we are looking into alternatives for hosting this particular show (you can usually find me on Soulseek…).
A range of instrumental, digital and field recording based approaches to the frequency and sound pressure range of human hearing, some more minimal than others. Apologies for the lack of geographic / cultural / gender diversity this evening – apparently it is mainly well-to-do white (and Japanese (okay, and Korean – I am defeating part of my own argument)) men are the only ones with the time / wherewithal / self-delusions to make and appreciate music that barely exists. Next show will be back to our normal globe-spanning standards.
The classics of the . . . genre(?) were purposefully avoided – Taku Unami, Manfred Werder, Taku Sugimoto, Jürg Frey and the like – though certainly not as a disservice to their work. They come highly recommended for Soundscapees enjoying the following:
[More details to follow soon…]
1 – Pierre Gérard – ‘Perspective’ – Perspective, En Cherchant Le Chevreuil – Belgium, 2010
I was initially going to play a piece of Gérard’s from his split with Shinkei (see below), but wanted to play work by Shinkei as well. Thinking that simply playing the whole album, while attractive from a curatorial perspective, simply didn’t leave me with enough knob twiddling to keep me occupied during the show, I opted instead for this piece.
In ‘Perspective’, as in much of Gérard’s work, individual sounds are given so much inaudible space in which to bathe that the work feels rather more luxurious than restrained. The listener is exposed as much to the decays and shadows of sound as to the sounds themselves, allowing ambient noise and distraction to ensure that the next utterance is unexpected and dear.
2 – Shinkei – ‘Biostatics 5’ – Biostatics – Italy, 2008
3 – Sheriffs Of Nothingness – ‘Epitaph (For A. Nordheim)’ – A Summer’s Night At The Crooked Forest – Norway, 2011
Though this track begins with the agressive stacatto thrusts and parries of violin and viola that characterize much of the album, the majority of the piece stands alone. Bowing techniques along the lines of those used by Jakob Ullman and Stefan Thut are here effective at keeping the listener on the aprehensive side – unsure of whether the opening bars will be repeated, or whether the sound will quietly fade.
Excellent work released on Sofa; an underappreciated label, at least in North America. I am personally hoping they collaborate with The International Nothing, mostly for the wordplay and the nihilistic tour posters (though I think it could work!).
4 – Noid – ‘You’re Not Here’ – You’re Not Here – Austria, 2007
5 – Vehscle – ‘Tailings I’ – Tailings – Canada, 2012
Not sure how the 60hz- and 10khz+ end of things actually translates to the FM radio band, or to our 128kbps stream for that matter, so you can find a better quality version below.
A recent work involving collections of the interstitial moments between tracks from the vinyl and cassette archiving process to which a not insignificant portion of my time is spent. Edited severely, though processed only with an equalizer.
6 – Ronnie Sundin – ‘Hägring’ – Hägring – Sweden, 2004
As the archive does not have a copy of the show, no podcast is available. However, you can download the show here.