August seemed to speed past, with barely a moment to breathe at times, but lots to report so let’s start! So, grab a drink and perhaps a snack, as I sense that this is going to be a long one today!
‘Listening Forest’ consists of eight site-specific audio-visual artworks installed along the North Forest trail at Crystal Bridges. Lozano-Hemmer is an award-winning media artist originally from Mexico City.
“Picture this. It’s evening, getting dark. You’re standing in the North Forest at Crystal Bridges Museum of American Art, and you hear something, the rhythms of 3,000 heartbeats. As you approach a certain grove of trees, you pick up on a subtle mix of whispering voices. Do you stop to add your own? When you get to the three enormous light robots, one of them begins to imitate your movements, and each one sets off swooping sounds.
A custom soundtrack by the artist Scanner was created for the “Listening Forest,” which brings those sound elements into play at exactly the right time and affects how you wind up listening to heartbeats in the forest.”
Apparently, the museum is anticipating selling more than 200,000 tickets for this first run of the show, which will continue until 1st January 2023. It will return again at the same time next year, when hopefully I can actually get to experience it myself in person!
I’m conscious that many of you can’t get to see the show so I’ve made a special selection of the music which you can listen to. It will also be on streaming services in the next months, after it’s been processed through the system! Follow this link to hear the music.
My release schedule is getting rather out of hand right now too, even for me to keep up with! So…
My recent live album, La Fenêtre Magique, which recently sold out on white vinyl on Werra Foxma Records has been repressed in a strictly limited edition of just 200 copies. It’s now on blood red vampire approved vinyl, and you can pick it up at the ridiculously low price of just £11.99. I mean, that’s a seriously good deal! It’s available immediately and shipping now.
Just read what Electronic Sound Magazine had to say about it recently:
“It’s largely one mighty, morphing track, titled ‘Blinking In Time’. Suspended chords siren into the void, like an untethered lighthouse floating far into the ocean. We’re then waterfalled into a chasm of sandpapered Autechre-esque rhythm and, gloriously, a strangled Moroder disco pelted with clattering drums. We’re not even halfway.
A tick-tock loop trapped in tense reverberations leads to a pastoral echo of the opening chords, beautifully sullied by a snarling bass wash. The maximalist coda ‘After Magnetism’ provides all of the frequencies all of the time. Lovely.”
I’m also super excited to announce the release of ‘Loess‘ with my friend Frans de Waard, released on Moving Furniture Records by Sietse van Erve. Made during lockdown, Frans and I went right back to our roots, exchanging tapes in the post to create this new album, using very low budget, discrete technology.
It’s out on 30 September but you can order it from today, and again best to be quick, as there are only 300 copies on a 2LP set.
Let the press release offer a little more detail:
“Both musicians used a combination of music instruments at their disposal. For Rimbaud he used the quirkily named Ellitone Farm Detective Ultrarollz, and Little Boy Blue by Flower Electronics, both of which are creatures that cannot be tamed. Cheap DIY machines that produce something unpredictable. De Waard uses the trusted Modelbau gear, ranging from iPad synths to the Korg Monotron and his usual cheaper than cheap Chinese pedals.
Both musicians chose the final recordings, but with very different results. Tape speed could be altered, and channel volumes could be adjusted, so in some ways, there are literally hundreds of ways the listener could experience these recording sessions. In a sense, Loess is just one interpretation out of many.
The results are startlingly enticing. Time seems to lengthen, and the interplay of tones and overtones create rich pathways of sound. There is a sense of space and form that envelops each piece. Unusual textures combine to form an elemental whole. At points, it’s both equally serene and shadowy, hypnotic and poetic.
Tape hiss at times enters the sonic conversation, reminding us of the source of these materials, but never distracts. Rimbaud and De Waard offer listeners an album using old-fashioned techniques, music recorded directly to tape, that penetrates through time and space, leaving us with this resplendent and absorbing moment to embrace.” Buy it here.
Over at Bandcamp I’ve also added a special project from 1997, exclusively available there. Ground Control was curated by Beaconsfield in London and Jutempus in Vilnius and was a collaborative project between these two artist-led spaces. This sound piece was commissioned by, and installed at Beaconsfield in 1997.
Artist projects focused upon the relationship between ‘East’ and ‘West’ Europe through their experiences as visitors, exploring the implications of travel and global communication and the potential of the artist as commentator and contemporary seer.
I visit Vilnius Lithuania to stay for a period and explore and record. What you hear is a collage of voices and sounds I picked up on this trip, depicting the acoustic memories from this visit to Vilnius. It follows my steps through the city, the market, and the crowds.
It was broadcast on SR Swedish Radio in 2003 in an edited version. It was broadcast on SR Swedish Radio in 2003 in an edited version. Now you can hear the full work for the very first time. Pick it up here.
Time for a tea-break. Here’s something to read whilst having a cuppa! An interview with Mobile Musician Magazine in the USA. I made the cover, but you will be relieved to learn that there is no centre-fold pin up.
Ah, welcome back…
My recent show at Leeds Modular Meet was a wonderfully positive experience, and the video should be live online sometime soon. I improvised a 25-minute live performance using a little modular synth set up which somehow turned into a deep dubbed out rhythmic session, utterly surprising to both audience and myself!
A couple more live shows take place this month and two very different ones indeed. On Friday 16th September I shall be performing in Bristol UK for the first time in so many years! With support from my Dutch friend Orphax, I shall be presenting something entirely fresh and new for listeners in the intimate space of The Cube.
The following week I shall be in Poland for the Warsaw Autumn Festival, premiering new work with Swedish singer Sofia Jernberg in an improvisation, then the world live premiere of Struktura Revisted. The show takes place on Thursday 22 September at Pardon, To Tu and it’s free for everyone, so if you happen to be in town please come along and say hello!
Struktura Revisited (ASIPV034) was released on a beautiful double vinyl set on A Strangely Isolated Place in January 2022, combining the eminent Polish composer Olga Wojciechowska’s album ‘Struktura’ (2015), with my new live studio re-workings of her original material. Apart from a performance on Bandcamp Live, it’s never been performed in front of the public before.
I will be performing a special show in London at Cafe Oto on Wednesday 5th October, in collaboration with Italian composer Roberto Paci Dalò, for a night of experimental music from Italy’s Emilia-Romagna region. It will also feature performances from Marta Salogni + Silvia Tarozzi + Valeria Sturba trio.
I’m often asked what music I’m listening to, and so when invited to create a mixtape I tend to draw on much of the music that I’ve listened to in the previous days. Eclectic as these mixes might sometimes seem, they are a reasonable picture of how my days pass when working on everything else but creating music.
So, here’s a mix I made for Klankschap which features a vast array of different music, including Aphex Twin, Roland Kayn, Jon Hassell, Kollaps, Felicia Atkinson, Peter Rehberg, Vladislav Delay, and many more. Listen back here.
‘Floating World‘ by artist Ori Gersht has its world premiere on Saturday 3 September at the Wilfrid Israel Museum of Asian Art and our collaboration for a 4-screen film installation. The work itself is an extraordinarily emotive slow-moving series of films that explores the blossoming of particular Japanese flowers that only open for a couple of days a year. I was truly honoured to score this exquisite work.
Thanks for your support, as always.
::: listen :::
Duet Emmo: Or So It Seems (Mute)
Morphogenesis: In Streams (Paradigm)
Keith Fullterton Whitman: Meakusma Generators (Naked)
Soundwalk Collective/Charlotte Gainsbourg: Lovotic (Analogue Foundation)
::: read :::
Cookie Mueller: Walking Through Clear Water In a Pool Painted Black (Canongate)
Martin Dust: Little Sheffield (R23)
John Cage and Peter Yates: Correspondence (Cambridge Uni)
Jonny Trunk: Own Label-Sainsbury’s Design Studio (Fuel)
::: watch :::
Yellow Cat: Adilkhan Yerzhanov
Song to Song: Terrence Malick
Deerskin: Quentin Dupieux
Nope: Jordan Peele