::: news :::
a few months ago i found a small portable radio, dating probably from the 1980′s and made during soviet times, is a secondhand shop in the small village of mooste in southeast estonia. i have a thing for old radios, so i bought it, and it got me to thinking about the place of radio, not in this present world of internet streaming, podcasting and so forth, but in our past, and in our memories. i know i have distinct memories of radio, radio stations, djs, events, situations, and even places that i relate to radio from my own past, growing up in boston, during my student days in western massachusetts, all the way through my years at the resonance fm studios in london, and my attempts now to listen to estonian radio to improve my language skills. i wondered if this particular radio, alien to me but possibly familiar to estonians, might trigger memories for those around me, and i decided to find out.
the estonians interviewed were given the choice of speaking in their native language or in english; two chose estonian, and two english. i have left the estonian language untranslated in the audio itself – much of what is being communicated can be heard in the tones of their voices, and through shared vocabulary. that said, i am providing a written translation for the estonian language sections below.
It is, yes, made in USSR. It’s from Russian times. But with this one you couldn’t listen to Voice of America. This gets mediumwave and longwave. For Voice of America we used shortwave, 25, 31, and 49 meter bands. But this is… yes, with this one it should be possible… wait, let me check. It’s stuck in the bag. “Selga”; you see? It’s just as I thought, Selga. Produced in Latvia. Latvia made things like this. But let’s see which wavelengths it has – should be mediumwave and longwave. I had one just like this; I used to listen to German music with it. They played very good German music, on mediumwave. And it works? Yes, it’s got mediumwave and longwave. I used to listen to broadcasts in English on shortwave. We also had one of these Riga radios at home. They made a lot of these in Riga. All kinds of different machines. And then we also had a Radiotehnika, I used that one a lot too. I couldn’t speak any English yet, but i just listened to how good it sounded. It has such a nice timbre. Mother also used to listen to English radio – or which language did you listen to? Did you listen to Estonian? Mother doesn’t remember anymore which language she listened to. But yes, there was really good music. So this is from the Radiotehnika factory – RRR: Rigas Radiotehnika Rubnika. RRR, the factory’s mark. “Rigas Radiotehnika Rubnika” in Latvian. Selga 405. 29 rubles. Radio receiver. Look how well it’s preserved. Still working. It’s old already, probably 30, 35 years at least. Quality mark; this is a quality mark. SSSR. Here you choose longwave or mediumwave. It works well. ah, German. German? ah, one of them is speaking German, the other English. It works very well. Italiano – no, maybe not. No, I don’t know. Still English probably. Italian? He’s probably talking about the pope, who’s giving up his position. Is he giving up his position? It’s very sensitive, receiving very well. Don’t know what language that is. And what langauge is that? Ha, Big Brother language. Mine was light colored and had a colored bag as well. And a strap, like this one. This is of course newer than mine was. But that one I think broke. I don’t remember what was wrong with it.
It’s a radio, made in the Soviet Union. It has a black leather cover, a bag that has a strap that can be adjusted to different lengths, so that you can, for example, put it over your shoulder on the street and take it with you. Very comfortable. The bag has a nice soft texture on the inside. It has two snaps that you can close it with. The radio itself is rectangular, with two buttons: one for the volume, the other maybe for the frequency. The bag has one round hole, through which you can see the frequency indicator. And then there are many small round holes, to let the sound through. On the back there are some more holes. I don’t know what these can be for. Maybe for the radio to get ventilation. And then there is one hole through which headphones can be attached. And there is one more button with which, probably, different wavelengths – longwave, shortwave – can be selected; you can choose. Many words have been embossed on the bag, for example “made in USSR”. The radio is totally rectangular; the button is round and the speaker part is rectangular with small holes. The brand is Selga. The words on the indicator are green, and the pointer is red, and a bit transparent. On the indicator there are numbers: 1.5; 2; 3; 4; 5.6; 6.5; 8; 10 and 15. On the back is written Radio Prijemnik. Selga-405, type APP 4. Cost 29 rubles.
saturday & sunday, 8-9 june
oxnam village hall
oxnam, near jedburgh
A weekend of workshops, social listening and field trips investigating common ground between textiles and sound, with visiting artists Felicity Ford (Reading) and Patrick McGinley (Rapina, Estonia)
Saturday 8 June
Materials Provided: one small pillow speaker, pure wool stuffing, pure wool yarn. Participants should bring: your own knitting needles, circulars or DPNs, sizes 3.5mm and 4mm. Maximum participants: 10. Booking essential, to make sure there are enough materials for all! This workshop is for people with some experience of knitting. Participants will know how to knit in the round, and how to cast stitches on and off. At the end of the workshop you will have a very wee 100% wool covered and stuffed pillow which you can bring with you anywhere or keep in your actual pillow at home, for listening to woolly sounds. You will need your own iPod, mp3 player or similar device to plug the woolly speaker into, and all workshop participants will be given a specially-created mix of wool-themed field recordings to play back through their speaker pillow!
For this workshop, as a basis for the afternoon field recording session, we will begin from the beginning, avoiding technology and concentrating on our most important tools: our ears. We will explore listening as an active endeavour, examining our perception via both pre-recorded and natural soundscapes, through listening exercises, soundwalks, and discussion. We will actively examine our hearing and how it works, attempting to consciously experiment with the perception and filtering that our brain typically uses unconsciously. Most of all: we will listen.
13.00 – 14.00: lunchbreak – good cafes and restaurants in Jedburgh, or bring a packed lunch
Materials Provided: dyestuffs, yarn to dye, tags for labelling results of experiments. Participants should bring: an apron, notebook, and pen. Maximum participants: 10. Booking essential, to make sure there are enough materials for all! In this workshop we will experiment with dyeing a range of primary shades, using madder, indigo, and onion skins. At the end of the workshop you will have a small collection of mini skeins in different shades, plus notes on how to repeat those shades if you want to have a go at home. While we are dyeing wool, workshop participants working with Patrick McGinley will be recording and collecting some of the sounds produced by the dyeing process.
Following on from the morning ephemeral listening session, we will use both ears and microphones to explore the sounds and textures being produced in the course of Felicity Ford’s natural dyeing workshop. We will provide a variety of microphones to try out, including contact microphones and hydrophones, as we put our newly warmed-up ears to the test through the mechanical, chemical, textural, and human sounds of the wool dyeing process. Feel free to bring your own recorders, microphones, and headphones if you have them.
All workshops cost £10.00 which includes the cost of all materials. To book please contact .
A social listening event in a relaxed setting with curated sound works, performances and
contributions from guest artists. Cost: £10.00
Sunday 9 June
A rare opportunity to work in the field with sound artists Patrick McGinley and Felicity Ford, supported by James Wyness. Meet at the Glebe Car Park, Jedburgh (just off the A68 overlooking the Abbey and the river, across from the swimming pool) at 1030am. Bring a packed lunch. Cost: £10.00
t: 01835 863061
radio and social change, with colin black & patrick mcginley, june 4th @ 12:00
SARU presents The Sound Diaries Symposium 2013 which boldly asks “How are we using field recordings to change the world?”
3rd – 4th June 2013
Oxford Brookes University
Headington Hill Campus
Over two days contributors from around the world will address how field recording practices have multiplied and diversified in response to increasingly affordable recording gear, developments in software, changes in how field recordings can be shared online, and evolving cultural theory. As field recording intersects with other disciplines – radio-making; composition; social sculpture; ethnography and the preservation of heritage, so do new frameworks for sharing sounds emerge. At the Sound Diaries 2013 symposium a diverse range of speakers including representatives from Sound & Music, The British Library, The Pitt Rivers Museum and Radio 4′s recently commissioned “Noise: A Human History” series will share different perspectives on contemporary field recording practices within these terms.
Themed panels include: Social relations explored through sonic praxis; Field recordings and education; Listening to the past; Can we really change the world with field recording?; The global picture; Radio and social change; Composition and field recording; and Mapping the field.
Colin Black, Efthymios Chatzigiannis, Peter Cusack, John Drever, José Luis Crespo Fajardo & Atilio Doreste, Patrick Farmer, Felicity Ford, Michael Gallagher & James Wyness, David Hendy, Ernst Karel, Christopher De Laurenti, Noel Lobley, Patrick McGinley, Udo Noll, Sybella Perry, Judith Robinson, Doug Rouxel, Cheryl Tipp, Claudia Wegener, Paul Whitty and Mark Peter Wright.
If you would like to attend either or both days of the symposium please email:
- 09:15 – 10:00 WELCOME, REGISTRATIONS, TEA & COFFEE
- 10:00 – 11:30 PANEL ONE: SOCIAL RELATIONS EXPLORED THROUGH SONIC PRAXIS
John Drever, Christopher De Laurenti, José Luis Crespo Fajardo & Atilio Doreste
- 11:30 – 12:00 TEA BREAK AND Q&A
12:00 – 13:00 PANEL TWO: SONIC PEDAGOGY, FIELD RECORDINGS AND EDUCATION
Felicity Ford, Judith Robinson
- 13:00 – 13:30 LUNCH
13:30 – 15:00 PANEL THREE: LISTENING TO THE PAST
Cheryl Tipp, David Hendy, Sybella Perry
- 15:00 – 15:30 TEA BREAK AND Q&A
- 15:30 – 17:00 PANEL FOUR: INTERROGATING FIELD RECORDING, “CAN WE REALLY CHANGE THE WORLD WITH FIELD RECORDING?”
- Michael Gallagher & James Wyness, Mark Peter Wright, Patrick Farmer
- 09:15 – 10:00 WELCOME, REGISTRATIONS, TEA & COFFEE
- 10:00 – 11:30 PANEL FIVE: THE GLOBAL PICTURE
Claudia Wegener, Noel Lobley, Ernst Karel
- 11:30 – 12:00 TEA BREAK AND Q&A
- 12:00 – 13:00 PANEL SIX: RADIO AND SOCIAL CHANGE
Patrick McGinley, Colin Black
- 13:00 – 14:00 LUNCH
14:00 – 15:00 PANEL SEVEN: COMPOSITION AND FIELD RECORDING
Paul Whitty and Efthymios Chatziggianis
- 15:00 – 15:30 TEA BREAK AND Q&A
15:30 – 17:00 PANEL EIGHT: MAPPING THE SOUNDS
Peter Cusack, Udo Noll and Doug Rouxel
::: molmika ::: mp3 ::: 2013 ::: download :::
d.i.y. string instruments, motors, tapes, reed organ, wind instruments, found objects, frequency generator, jew’s harp, prepared accordion, field recordings, voice.
latvian friend and collaborator max shentelevs has posted a piece on the bernu rits website made by latvian television about a series of workshops and performances that took place there in 2008. max, john grzinich and i led the sound as space / sound as language workshop over 6 days in two locations. some more information about the workshop, from the murmerings archives:
“a workshop focusing on sound as transmitter of nonverbal information, whether as a tool for communication or as a description of physical or imaginary space. we will focus on sound’s ability to define/describe space, and on our ability to resonate, alter, or create space by using sound. we will also explore animal communication and group activity. a strong focus will be placed on environmental listening, and the development of the ear toward detailed sonic perception. using small acoustic objects and the space itself, we will experiment with methods of group nonverbal sonic communication, with giving our location a voice, and with creating new spaces toward an understanding of sonic scenography. the workshop will open with an extended listening session, after which participants will work through a series of sonic games and be asked to bring objects to use in the later stages.
more information (in latvian) and images from the week’s events here. the film is also in latvian, but includes much to see and hear!
friday, 16 nov.
BUILDING 30 Suite 106
Brooklyn Navy Yard
directions: enter at the Clinton Ave & Flushing Ave gate, ask for Building 30 Suite 106 at the guardhouse, they will direct you. a BNY map link and directions can be found here.
RSVP: via FB, btovsky (at) gmail (dot) com or 917.674.6647
after a long hiatus we are pleased to announce the first of a new series of events:
MURMER (SOUND) + BRUCE TOVSKY (VISUALS)
BEN OWEN (SOUND) + ANA CARVALHO (VISUALS)
for patrick’s set all sounds used are prerecorded in the space itself or it’s surroundings, or generated live from local found objects. patrick is using this process for each of the performances he is giving on this tour. we will be doing a soundwalk around the navy yard the day before, collecting sounds, and in my case visuals, to be presented during the performance.
106BLDG30 is curated by Bruce Tovsky & Tracy Wuischpard
saturday, 10 nov.
10 channel center street
$10 suggested donation
Join Studio Soto for an outstanding evening of rare performances by American expat sound artist Patrick McGinley (aka murmer), and the renowned duo Nmpreign (Bhob Rainey and Greg Kelley), along with the sterling Ernst Karel.
Patrick McGinley (aka murmer) is an american-born sound, performance, and radio artist who has been based in europe since 1996. since then he has been building a collection of found sounds and found objects that has become the basis of all his work. in 2002 he founded framework, an organisation that produces a weekly field-recording themed radio show, broad- and podcasting around the world. in 2005, he began working closely with the artist-run organisation MoKS in southeast estonia, relocating there permanently in 2009.
nmperign began in 1998 as the trio of Greg Kelley (trumpet), Bhob Rainey (soprano saxophone) and Tatsuya Nakatani (drums and percussion). This line-up recorded the group’s debut CD, and toured the US before Nakatani left to pursue solo work. As a duo, Kelley & Rainey forged a unique style of improvised music informed as much by electronic music and noise as by the traditions of classical music (which Kelley studied at the Peabody Conservatory in Baltimore), modern composition (which Rainey practiced at the New England Conservatory), punk, and free improvisation. The duo toured extensively in the late 90s and early 00s, highlights of which were documented on a CD published by Ralf Wehowsky‘s Selektion label. They would hone the nmperign sound to a sharp point that would bring them into contact with people who would become frequent collaborators: Gunter Mueller, Axel Doerner, Andrea Neuman, Jerome Noetinger, Lionel Marchetti, Damon & Naomi, Le Quan Ninh, and most importantly Jason Lescalleet, with whom they would record two albums as a duo, and each work on an album with individually. — from Intransitive Recordings
In his audio projects, Ernst Karel works with analog electronics and with location recordings, sometimes separately, sometimes in combination, to create pieces that move between the abstract and the documentary. As an improvisor and performer on trumpet and/or analog electronics, or as a composer, he has participated in recordings released on and/OAR, Another Timbre, BoxMedia, Cathnor, Dead CEO, Formed, Kuro Neko, Locust, Lucky Kitchen, and Sedimental record labels, among others.
one square meter is a project in micro-exploration. all sounds were recorded within a small radius of one another, a study of the different resonances perspectives, and focuses of a small space. for this project the chosen spot is on the riverside of the drava in maribor, the ruins of an old staircase that once led down to the water. the site contains the support poles for the now-gone staircase handrails, metal guardrails and fences, discarded bottles, reeds and cables dipping into the water, concrete walls, and life (insects, birds, fish, etc).individual sounds can be heard from the map on the right. here as well is a composition made using the recordings:
one square meter: maribor riverside is one outcome of the maribor maps project, a collaboration with udo noll, creator of the aporee soundmaps, and as we speak, which was a part of maribor capital of culture 2012.
now available from malaysia’s herbal international:
the framework compositions are a series of experiments with untreated field recordings, exploring notions of musicality within the structures of found sound. the compositions were created with differing sets of self-imposed rules: framework 1 (whose sources were all recorded in paris, france in march/april 2003) was recorded, edited and composed entirely on a single minidisc with no overdubbing or alterations to the sounds or their relative levels; framework 4 (originally released on the soundwalk editions blog) is an experiment in sonic perception via the contrasts of resonance in different indoor and outdoor spaces; and frameworks 2 & 3 are both long-form works of multi-layered sonic environments originally commissioned as radio works (for the radia network and silenceradio, respectively). framework 3 also explores the use of voice as a musical tool within a larger public soundscape, and includes sounds produced by a group of workshop participants in an attempt to actively resonate and interact with a specific space, both of which call into question a recordist’s position as passive spectator. as an artist working with field recording who considers himself a musician, these works were in some way a reaction against this idea of documentary or objective presentation of found sound. if every microphone is a frame, can the works born via their vibrations be disconnected from a recordist’s perspective, decision, action, or emotion? these works could be said to represent a momentary perception of a place and time, or perhaps a conglomeration of overlapping memories and impressions of past moments, activities, and spaces.
all sounds found between 2003 and 2011.
vocal performance on framework 3 [swarm] improvised on a café terrace in the south of france by mari kalkun and piibe kolka.
sleeve design by lewisdoesdesign.com, with images by patrick mcginley.
1 ::: framework 1 [paris cuts] ::: 14:19
2 ::: interlude [tengmalm’s owl] ::: 3:00
3 ::: framework 2 [ce soir on va se faire chier] ::: 32:57
4 ::: epilogue [seaside flagpoles] ::: 4:00
1 ::: framework 3 [swarm] ::: 35:00
2 ::: interlude [thunder & cranes] ::: 3:00
3 ::: framework 4 [4 spaces] ::: 15:00
4 ::: epilogue [irrigation drain] ::: 4:00
2 x Audio CD
Release date: October 2012
the framework:seasonal series of fund-raising audio releases continues with a very special issue #3 – the great chris watson, who, we’re sure, needs no introduction amongst framework listeners, has donated a single-take, 2.5 hour field recording from the rainforests of borneo, recorded and published at its full length at higher-than-cd audio quality. this stunning recording has never before been released, and has been donated by the artist in support of framework radio. it is available only through framework, in exchange for your donation of €20 of more on the framework website.
each dvdr is slow burnt onto the highest quality taiyo yuden archival discs, and is hand-stamped with the custom-made image of a borneo-native mushroom, in keeping with the previous issues of the seasonal series. each is housed in an offset and folio printed sleeve from a local printing press, on paper from a local papermill, both here in the southeast estonian town of räpina. the insert as well is printed on additive-free paper from the räpina mill. these audio dvdr’s will play in any standard dvd player, or on any computer.
Sunrise in the Sukau rainforest
Recorded during October 2011 by the river
Kinabatangen, Sabah, Borneo from 0430h
Sennheiser MKH 8040/30 middle and side array to a
Nagra ARES Pll recorder at 48Khz 16 Bits .wav
The Sukau rainforest is a relatively narrow strip of primary forest either side of the banks of the river Kinabatangen in Sabah, Borneo. Access to the forest floor is very difficult as there are no trails, however at the back of the lodge where I was staying there was a narrow old and decaying boardwalk that led, snake like, through the dense undergrowth and out into what felt like another world. Each morning for over a week I left my lodge around 0400h and set off carefully along a zig zag pattern of soft and splintered planks into the velvet darkness. Either side of the red glow from my head torch fireflies and other unknown bioluminescent insects blinked and flashed their alien languages whilst dead ahead the small piercing red reflecting eyes of hunting bats streaked, missile like, directly towards me. On several mornings my GPS guided me to a favourite looping curve at the furthermost point of the 2Km trail where I could stop and fix my mikes in a tree whilst trying to bat off the myriad host of mosquitos that quickly find anything warm blooded that is stationary. I rigged and set away the recording before quietly moving off, my ears straining to hear the distant songs of gibbons, the shrieks of macaques and the low whistle of a pitta. Sunrise, such as it is 30m below the canopy, is also accompanied by the slow drip of condensation percolating down through the grey green gloom from a canopy 30m above as the forest is slowly revealed. – Chris Watson
to order your copy donate €20 or more by clicking here, or visiting http://www.frameworkradio.net. we’ll be in touch to confirm the best shipping address. copies of previous issues of framework:seasonal are also still available – donate €20 or more per issue and let us know which ones you’d like!
support framework radio and donate!
tuesday, 6 nov.
the center for the arts galleria
2400 chew st.
as part of playaround 2012
The technology required for exploration of our sonic environment (digital sound recorders, microphones, editing software) is now readily available and affordable, but the most important and powerful tool we have is often overlooked: our ears. In this workshop we will return to this most basic hardware and explore perception via listening itself, in a detailed consideration of our surroundings via sound. Although we will of course make use of the technology available to us, our focus will be on the act of listening itself in an attempt to gain a greater understanding of what is arguably our most important sense.
We will explore both active and passive soundscapes: passive through the act of field recording, as we explore the obvious and hidden sounds of small spaces in an exercise called ‘one square meter’, in which participants will find and document different sounds, resonances and perspectives from within a defined radius, and active through improvisational sonic explorations as we create unamplified group performances in found spaces using only the materials found therein. In this way we will give voice to spaces whose resonances may otherwise remain silent.
- durational listening: One of out first exercises will be to explore our own perception of sound through an extended session of listening to field recordings and found sound. We will explore and discuss perceptions of time and space and how they are affected by sound, notions of self-awareness, sensitivity to certain types/qualities of sound, and identification vs. anonymity of sound.
- one square meter: Participants will choose a small defined space, natural or urban, and explore it’s sonic aspects in detail through various recording techniques (normal microphones, contact microphones, hydrophones, miniature microphones inside objects, etc), making an extended sonic survey of a small space. For an example see this Maribor, Slovenia location on the aporee soundmaps.
- active/passive blind soundwalks: Participants will lead and be led through various environments with eyes closed, both through the existing soundscape of our natural environment, and through our own created soundscapes which we will construct through our acoustic improvisations and explorations. In this way we explore the intensity and detail of listening to an environment without seeing it.
- revenant actions: for the ‘active’ portion of our workshop, we will choose locations and explore them sonically through intervention/interaction with the space. All spaces have resonance and materials, and we will examine what sounds we can eek out of a space using only the material found there and a collection of ‘resonant aids’, such as instrument bows, rubber mallets and sticks, etc. Tones from rubbed windows, bowed metal, percussive hollow objects, textures from dried leaves – these are just a few examples of what can be found in a chosen space. For more information on the revenant project, see http://www.revenantsound.net
In the end we will have a collection of field recordings and site specific performances that will be a document of our explorations.
udo noll (de)
with patrick mcginley (ee),
support by ana pečar, petra kaps & andrej hrvatin (si)
KIBLA, Ulica kneza Koclja 9
udo noll and patrick mcginley talking to carsten stabenow (de)
radio aporee is a platform for artistic research of concepts and practices in the field of sound, location and their specifications in space. two terms, periphery and resonance, build the main focal foundation, bound to sound and space and also to social and communicational viewpoints. the term periphery can be defined as a spatial or qualitative differentiation, as movement away from the centre, towards the borders. at the same time, every conscious perception builds peripheries, where the main focus lies in the centre of those peripheries. the term resonance defines two poles: the answer of the place or of the opposed to our mere presence or address, in contrary to the resulting muteness. do we succeed in establishing a fruitful relationship with the surrounding world or are we left out? field recordings as the main source and method of the willing approach towards places and situations can be read as communicative relationships: the recorded sound is, at best, the answer to the question, defined by our search and approach. in this case, resonance is the stroke of luck, where a contact with space and the world is established. conscious listening is the key and the access point to an intensified reception and experience of the surrounding world.
Hello and welcome to yet another public service announcement from the Helen Scarsdale Agency.
A few months have passed since we’ve published anything, and that was due to a consolidation of the fabrication departments of the Agency under one roof. The sound and design studios were separated from the printing and corrosion services by a sizable body of water and one very long bridge; but now all is housed in one complex — not entirely organized to our satisfaction, but good enough for us to begin soliciting sales for the latest publication — a mesmerizing album of field recording and hallowed minimalism from Patrick McGingley (aka Murmer). This is the second of McGingley’s albums that we have been blessed to release into the world, and it’s quite a gem. We won’t be issuing this for a few weeks — July 3, in fact; but we are now accepting pre-orders on the album for those so inclined. With just 400 in limited production, we hope you would be inclined.
And now, the details:
What Are The Roots That Clutch
Helen Scarsdale : HMS022 : CD
mail order price : $13.00
release date: July 3, 2012
It was a cavernous tone that broadcast from a ventilator duct that inspired Patrick McGinley to begin collecting field recordings and working them into his slow-arc compositions. At the time when he heard that particular tone in that particular city at that particular time, he had no gear to recording device on hand. Over the next fifteen years (and counting) McGinley has eased into a peripatetic lifestyle, wandering the European countryside and forests (but never straying too far from the thrum and spark of civilization) in search of the same epiphany with his head rattled to the sound of a cavernous air duct.
Around 1996, McGinley adopted the moniker Murmer for his compositional work; and though his work often steps into the quieter realm of sound construction, much of his field recordings and resultant compositions privilege interference and disturbances that occur within any given sound ecology. Those sounds could be the elusive tone from that ventilator, the polyrhythmic chorus of chirping frogs, the abstracted roar from an Arctic wind tearing across the Black Sea, or the metallic skree from a bowed antenna perched atop a Soviet-era observatory. What Are The Roots That Clutch marks McGinley’s first full album in nearly 5 years, but it marks an elegant continuation of his previous album We Share A Shadow. The five chapters of this album can’t easily be associated with any specific location; instead McGinley overlaps and crosshatches his field recordings and abstractions into acousmatic passages with ghostly, half-melodic qualities. Even the two unprocessed recordings of the album are impossibly complex in their accretions of sound. McGinley’s composed pieces embrace lithe, mysterious drones whose mossy, damp atmosphere perfectly situate with tactile crunches, tactile events, and signal noise generation. Eels and leaches would not be out of place in such an environment; but the subaquatic murk snaps into a hallowed manifestation of ritualized minimalism at the album’s finale/ — one that LaMonte Young and Angus Maclise might have conjured in 1968 with clattering percussive elements and a hypnotic blur of harmonic drone.
What Are The Roots That Clutch is limited to 400 copies and comes housed with letterpress artwork.
on the 28th of april, 2012, marja-liisa plats (a local singer with whom i have worked several times in the past few years and with whom i have had a vague plan for the last year or so to start a musical project), sergei kleyn (a writer and musician who has been a resident artist at MoKS for the last few months) and i entered the annual mooste folk festival song competition and performance, at the request of the organisers for MoKS to enter a band representing the local mooste artists’ community.
many bands (14 this year, i believe) perform 2 songs each during the main event: one is a song of their choice, while the other is a single traditional song chosen by the festival organisers that each band must interpret. on the jury this year, among others, were musician peeter rebane, and legendary electronic composer sven grünberg, who would prove to be our champions as we won the 3rd place ‘surprise prize.’
many thanks to peeter and sven, and all those who enjoyed our music. here it is as recorded on the night by our friends, also then artists-in-residence at MoKS, dennis tan and katri ikävalko.
jd zazie, sala, james wyness, dave phillips, aymeric de tapol, anton mobin, camilla hannan, pali meursault, lasse-marc riek
this edition finds itself in much more industrial territory, in the literal sense of the word, with machine drones, empty spaces, printing presses, public transport; quite a cacophany, but not without some natural respite away from city sounds.
framework:seasonal is an ongoing series of compilations in support of framework radio – all works are donated by the artists, and the releases are only available directly from the framework website, in exchange for a donation of 18€ or more, or a subscription donation of 5€ per month or more. please support framework’s efforts and give! copies of issue 1, autumn 2011, are also still available, as well as just one or two remaining copies of the massive framework250 4-disc set from 2009.