Resonator

00:00 Resonator Spot
00:28 Rashad Becker – Dances IV
02:40 Laura Cannell – Scorched Fields and Cracked Earth
05:29 Wojtek Kurek – Krok Step
08:20 Lucy Duncombe – SPRYTE’S FORK
11:20 Laura Romero Valldecabres – Masa
14:46 Emmanuel Ghent – Phosphones
16:00 Steve Fors – (Good Enough) For Now
19:46 Harold Schellinx – Histoire du Patrimoine et des Musées (History of Heritage and Museums)
23:22 “A” Trio – Textural Swing
28:55 Silvia Kastel – Xantharmony
31:34 Yenting Hsu – Coordinates 座標
35:05 Andrew Coltrane – Midnight Winds Track 2
37:00 Kali Malone – Fast Goodbye
39:48 Ton Bruynel – Reflexen
44:03 Laurence Rassel & Terre Thaemlitz – A special message from Michele Foucault
46:30 Akhira Sano – Generate 01
47:13 Angelo Harmsworth – Aerosol
52:00 Bridget Hayden – The Stone Woman
54:04 Moltamole – Jökulsárlón
54:10 Duet Emmo – Or So It Seems

Rashad Becker.
‘Traditional Music of Notional Species Vol. I’ is a devastating display of potential which ensures a journey unlike any you have encountered. In the vast world of electronic music, where sounds, signifiers and gesture’s are recontextualized to a numbing degree it is increasingly rare and refreshing to encounter a release as perspective distorting
https://rashadbecker.bandcamp.com/album/traditional-music-of-notional-species-vol-i

Laura Cannell.
Multi-instrumentalist Laura Cannell continues her astonishing run of 2022 releases with an unearthly reimagining of sacred music, welding pipe organ improvisations to lysergic church bell manipulations and snatched field recordings.
https://brawlrecords.bandcamp.com/album/we-long-to-be-haunted

Wojtek Kurek.
drums improvisation max/msp unreal engine electroacoustic composition production installation theater
https://tssstapes.bandcamp.com/album/free-percussion-water

Lucy Duncombe.
The Rapture of Cellular Accretion is a tape, fiction text and artwork completed during the convalescence of lockdown.
The work concerns the back and forth sharing of music within the alternate sociality of digital space; lives held within YouTube playlists and cultivated within the ample hamlet of thumbnails, comments, and auto suggestion, with a sense of a ‘we’ stuck recursively in loops of musical fable.
https://lucyduncombe.bandcamp.com/album/the-rapture-of-cellular-accretion-2

Laura Romero Valldecabres.
Audio producer, radio-maker, professor and researcher. Consultant-teacher of Audio for Multimedia Studies in Universitat Oberta de Catalunya. Researcher in AUDIRE: saving sonic-based memories, Universidade do Minho.
https://lifeisavicnic.bandcamp.com/album/new-chronologies-of-sound

Emmanuel Ghent.
Born in Montreal, Canada in 1929, Emmanuel Ghent studied both psychiatric medicine and music at McGill University, before emigrating to New York in 1951, where he continued his musical training while also becoming a clinical professor of psychology. Although an oboist, Ghent became interested in electronic music in the 1960s and was a pioneer in the use of computers in musical composition. He worked with the GROOVE system at Bell Labs, starting in the late 1960s, and continued to discover innovative methods for incorporating synthesized sounds in his compositions. In the 1970s Ghent began experimenting with using computers to not only generate sound, but also light patterns as well, collaborating with Mimi Garard to produce a number of “theatrical” pieces, of which “Phosphones” was the first and perhaps best known. Ghent died on March 31, 2003.
https://archive.org/details/P_GHE_EMM_02

Steve Fors.
Steve Fors offers deeply physical music on his Hallow Ground debut »it’s nothing, but still.« Having already established himself as a composer of visceral drone and noise pieces in various Chicago- and New York-based underground projects, Fors’s first release under his given name is even more dense and evocative than his earlier work. A concept album on the subject of breath, the Siavash Amini-produced record sees the now Swiss-based composer blend field recordings with electronic and acoustic sounds—most notably towering cello drones—to almost overwhelming effect.
https://hallowground.bandcamp.com/album/steve-fors-its-nothing-but-still

Harold Schellinx.
Harold Schellinx is an artist, writer, improvisor and creator of unusual music. Apart from being a member of The Young Lions and several other post-punk bands in the late 70’s, he was one of the first people who initiated the ‘Ultra’ movement (the dutch version of what internationally became known as ‘post-punk experimental pop music’) and also co-founder, editor and London correspondent of the dutch modern music magazine ‘Vinyl’. Schellinx studied formal music and computer assisted composition at the Institute of Sonology and mathematics and its foundations at the University of Amsterdam. He has been a mentor to many significant pioneers of industrial music of the 80s, like Nigel Jacklin and his Alien Brains project, of which he was also a brief member. A dictaphone experimentator, member of the eclectic media duo ‘ookoi’ and curator of the online ‘found tapes exhibition’. He is a member of the Paris based electroacoustic improvisation quartet Diktat.
https://coherentstates.bandcamp.com/album/histoire-de-l-art

“A” Trio
Trumpeter Mazen Kerbaj, bassist Raed Yassin and guitarist Sharif Sehnaoui have developed a cohesive improvisational style founded upon a peculiar blend of isolation and connectedness. No one who comes from one of the centers of improvisational activity (Berlin, London, Amsterdam, Chicago, New York, Tokyo) is likely to give their record a name so defensive as “Music to our Ears”; they would have had the chance to play to audiences who long since got past the question of whether a guy generating digeridoo drones and metallic clatter with his partially disassembled trumpet and some tubes is playing music.
https://almaslakh.bandcamp.com/album/music-to-our-ears

Silvia Kastel.
Elastic, fluid, an overarching theme – Xantharmony. Xanthan is used as a thickening agent, a stabilizer, derived from bacteria. In small quantities, it acts as a “gel”. Viscous melodies that wouldn’t exist in isolation and without a degree of contamination.
https://theyouthlabel.bandcamp.com/album/silvia-kastel-xantharmony-yocd13

Yenting Hsu.
As the continuation of the Relight+MUSIC project collaborating with zhēnzhēn Stained Glass lab, Flash is dedicated to the theme of ‘time’. Sound, music and glass exist as art forms of time. In this album, sound materials are from samples of glass sounds, accompanied with field recordings, electronic sounds and voices. I use various approaches to imagine and depict the concept of time and different time frames.
https://ashinternational.bandcamp.com/album/flash

Andrew Coltrane.
Long working noise artist
https://bandcamp.com/tag/andrew-coltrane

Kali Malone.
“Strega Musica” is a collection of music created with Strega, an instrument designed in close collaboration between Make Noise founder Tony Rolando and Alessandro Cortini.
https://makenoisemusic.bandcamp.com/album/strega-musica

Ton Bruynel.
The realisation of ‘Reflexen’ took place at the Institute of Sonology and in the composer’s private studio. Bruynèl has written numerous works for tape and for tape and live instrumentalist.
https://subrosalabel.bandcamp.com/album/institute-of-sonology-early-electronic-music-1959-69

Laurence Rassel & Terre Thaemlitz.
An electroacoustic radio drama about feminist anonymity, transgendered authorship… and murder. Transcript & MP3 soundfiles of the radio broadcast produced for German Public Radio in collaboration with Laurence Rassel of Brussel’s cyberfeminist collective Constant. The project combines original and liberated music with spoken word examining the gender politics of the copyLeft. An album so cutting edge German Public Radio banned it from broadcast. Also starring Tina Horne, Pierre De Jaeger, Nicolas Malevé, Femke Snelting, Marie-Françoise Stewart, Aiko Tsuji and Wendy Van Wynsberghe. Released June 1, 2007, by Comatonse Recordings (Japan: C.016.CD/C.016.EP), Constant vzw (Belgium) and Public Record (US: 2-01-014). In addition to the free MP3 download, The Laurence Rassel Show was released as a deluxe edition 2CD set with bonus tracks and poster, as well as a limited edition 12″ vinyl EP of “Useless Movement.” – both available from the Comatonse Recordings online shop. Click here to view original release artwork.
https://www.comatonse.com/writings/2007_laurencerasselshow.html

Akhira Sano.
Electronic music producer and painter from Japan.
https://thetrilogytapes.bandcamp.com/album/particle-dialogue-observation-and-recording

Angelo Harmsworth.
Holding the tension of opposites is a theme running throughout the work of Angelo Harmsworth, and the six pieces comprising Vent are no exception. Inspired by the different and oftentimes clashing forces comprising our weather systems, the New Mexico-born but now Berlin-based musician and producer envisioned his “compositions as micro-ecologies,” wherein “powerful waves push off one another.” The patterns emerging from this captivating music represent some of Harmsworth’s most complex to date. Swells of foreboding frequencies and jarring maximalist textures may bear down on listeners, yet an undercurrent of bliss–so deeply submerged it borders on the subliminal–manages to infuse even the most tumultuous moments of Vent with a calming groundedness.
https://enmossed.bandcamp.com/album/vent

Bridget Hayden.
Bridget Hayden is a singer, guitarist, piano player, and a visual artist.
http://www.folkloretapes.co.uk/product/swifter-than-the-moon-s-sphere-english-fairy-lore

Moltamole.
‘and so we heard them melt’ poses an ongoing project primarily focused on listening to and capturing the sounds of melting glaciers. It has been rooted in a personal interest of exploring the importance of soundscape and the matters it can sonify. And though it first sparkled when I was writing my thesis on sonification of climate change, the diversity of matters it reverberates with constantly unravels in front of my ears. The project consists of multiple layers and evolves around a diversity of actions – from deep listening and collecting hydrophone recordings in multiple locations in Greenland or Iceland, to artistic research on how one can absorb and correspond to such sonic landscape, and furthermore, to exploration of what matters it can sonify – from ecological grief to tourist industry glamourising climate change. The element I am currently focusing on and would like to unravel further evolves around emotional response towards the soundscape of melting glaciers.
https://moltamole.bandcamp.com/album/and-so-we-heard-them-melt

Duet Emmo.
Or So It Seems is an album by Graham Lewis, Bruce Gilbert and Daniel Miller under the pseudonym Duet Emmo (an anagram of Dome and Mute), released in 1983 by Mute Records.
https://duetemmo.bandcamp.com/album/or-so-it-seems-remastered