Déviation Heat-treated is Mark Fell's (SND) response to Heatsick's recent Déviation EP on PAN. Somewhere between cover version, remix or deconstruction, just over 34 minutes of re-layering of patterns and sounds.
The 12" is mastered and cut by Rashad Becker at D&M. It is pressed on 140g black vinyl which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.
Sunday, 9 February 2014
PIERRE HENRY - MALÉFICES
Often evading the composer ’s official discography lists Cacophonic present this outstanding, commonly undetected Pierre Henry film score providing fans of early electronics, femme vocal manipulation and horror soundtracks with an indespensable “dream record” that ticks every box and crosses out every line in the rule book. Widely recognised as one of the original sonic architects of the movement known as musique concrete, having joined Pierre Schaeffer’s forward-thinking initiative as early as 1949, Pierre Henry was arguably the first musician to entertain the notion of this defiant musical revolution coexisting with traditional and poplular music. Initially using the mediums of modern dance and spoken word as a platform to contextualise his tape-music mutations (notably in unison with Maurice Bejart) Henry’s foresight to fuse accademic with thematic ideas lead to the birth of electronic sound design for film and theatre, expemplified most prevalently in the macabre.
Musique Concrète Soundtracks To Experimental Short Films (1956-1978)
New England Electric Music Company
An amazing collection of crucial and lost slivers of both celluloid and sound, from right along the rim of the memory hole. Tom Dissevelt's soundtrack to "Glas" (dir. Henstra, 1959) is almost like an Henri Chopin poem, with weird squeals and reverberating breaths and crackling radio voices intoning with dreadful menace among the cycling noises. Turns out to be about glass-blowing, go figure. Gershon Kingsley provides a percolating soundtrack to "Pixillation" (dir. Schwartz, 1971), which shouldn't be too much a surprise for those familiar with his duo work with Perrey on The In Sound from Way Out. Very reminiscent of a coherent Sun Ra moog fugue and the most funky and taciturn of the entire set by far.
Read more...
Le Pas, Piotr KAMLER, 1974, FR by shortanimatedworld
An amazing collection of crucial and lost slivers of both celluloid and sound, from right along the rim of the memory hole. Tom Dissevelt's soundtrack to "Glas" (dir. Henstra, 1959) is almost like an Henri Chopin poem, with weird squeals and reverberating breaths and crackling radio voices intoning with dreadful menace among the cycling noises. Turns out to be about glass-blowing, go figure. Gershon Kingsley provides a percolating soundtrack to "Pixillation" (dir. Schwartz, 1971), which shouldn't be too much a surprise for those familiar with his duo work with Perrey on The In Sound from Way Out. Very reminiscent of a coherent Sun Ra moog fugue and the most funky and taciturn of the entire set by far.
Read more...
Le Pas, Piotr KAMLER, 1974, FR by shortanimatedworld
Saturday, 8 February 2014
Trevor Cox - The World's most Reverberant Space
Scottish Oil Storage Tank
The storage tank measured used to contain 5.6 million gallons of shipping oil. You can find out more about the oil tanks and their acoustics (and why the World record is incorrectly called an echo) in my new book.
The measurements were carried out according to ISO 3382-2 2009 “Acoustics – Measurement of room acoustic parameters Part 2: Reverberation time in ordinary rooms”. The impulse response measurement method was used using a starting pistol firing 9mm revolver blanks. Two ½” inch laboratory quality omnidirectional microphones were used (Bruel and Kjaer 4165 condenser microphone connected to Bruel and Kjaer 2669 preamp). These were connected to a Norsonics 336 Front End power supply and pre-amplifier. The outputs from the Norsonics 336s were recorded on a Roland R44 sound recorder at a sampling frequency of 44.1 kHz with a 24 bit precision uncompressed.
Six source-microphone combinations were measured. The two microphones were placed roughly a third of the way from the rear wall of the room, approximately 5 m apart, roughly 2 m and 3 m from the centre line running along the length of the room. One was approximately 1.5 m above the ground the other approximately 2 m above the ground. Three source positions were measured, starting roughly a third of the way from the entrance and ending about half way into the room. Source positions were away from the centre line of the room. In feeesound the impulses are labelled 1-6. 1&2 were measured at the same time (similar for 3&4 and 5&6).
Thursday, 6 February 2014
On the Edge (Improvisation: Its Nature and Practice), 1992
Derek Bailey (1930-2005)
A series of four 55 minute films shown on Channel 4 TV in the UK in early 1992. To say this was the best and most intelligent analysis of improvisation to be screened on UK television is probably unnecessary: it has in all likelihood been the only televised programme on this form of music-making. Written and narrated by Derek Bailey, produced and directed by Jeremy Marr, it developed out of the first edition of Bailey's book on improvisation (the broadcast almost coinciding with the publication of the second edition) and attempted to provide a world-view of the subject, not being bound by country, musical genre or preconception.
A series of four 55 minute films shown on Channel 4 TV in the UK in early 1992. To say this was the best and most intelligent analysis of improvisation to be screened on UK television is probably unnecessary: it has in all likelihood been the only televised programme on this form of music-making. Written and narrated by Derek Bailey, produced and directed by Jeremy Marr, it developed out of the first edition of Bailey's book on improvisation (the broadcast almost coinciding with the publication of the second edition) and attempted to provide a world-view of the subject, not being bound by country, musical genre or preconception.
Tune In (2006) - Esther Johnson
A portrait of the fascinating world of amateur radio operators, better known as HAMS. Dealing with the politics of space and social communication, Tune In blends documentary and abstract audio to reflect on the use of DIY radio equipment in an ever-changing modern world. 'The Space-age hobby where the world is your friend.'
"An unusual delight...beautifully composed study of a dying breed of enthusiasts and hobbyists...The more I think about this film the more I love it and it well deserved to be fifteen minutes long which few films do." – Ben BlaineShooting People Film Programmer 2006
"An astute and affectionate portrait on the unseen community of HAM radio enthusiasts." – London Film Festival 2006
Asounder - for (Un)Sound Occupation
Main Questions
Has the sonic world you inhabit ever felt oppressive or invasive? (Bearing in mind that ears are open 24/7). Were the effects of this state physical or psychological, or both? In cases where such contexts are encountered on a daily basis, what strategies can help deflect or disrupt such a sound world?
How can you avoid hearing only what you want (or are programmed) to hear? What kind of training can break the conditioning which limits hearing? How do you break out of your own sonic past and invent a future?
How might you use sound in order to stimulate a sense of collectivity? (Where both the physical and mental are intertwined.) How might collective intelligence be mobilized through sound in a capitalist system which separates and individualizes?
Have you ever been overwhelmed by an acoustic environment (over all the other senses)? Did you pick apart the experience to figure out why?
Have you ever been in a situation where the notion of frequency (pitch) seemed allied with a political position? What about volume in the context of a political protest? (Sounds of dispersal vs. magnetically attractive sounds?)
How do you create a rupture within a capitalist system which easily assimilates (tolerates) difference? (Like John Carpenter’s The Thing, capitalism seems capable of absorbing and metabolizing anything it comes into contact with, even its own glitches). Is there still a radical outside to capitalism which can be accessed?
Control / Modulation
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