Resonator

00:00 Resonator.
00:27 Nichola Scrutton – Interzone.
00:50 MIMEO – Lifting Concrete Lightly 05.
04:20 Werner Dafeldecker & Valerio Tricoli – Der Krater #1.
10:40 Philip Jeck & Chris Watson – Bridge.
15:56 Rrose – Joy of the Worm.
21:20 Mercury Hall – Dorsoduro.
22:48 Boris Baltschun – Desert Dictionary A.
25:45 7038634357 – Everytime.
31:08 Fredrik Rasten – Lineament II.
34:04 Anaïs Tuerlinckx – La Pluie Métallique Et Autres Chansons.
37:03 Arthur Russell – Not Checking Up.
41:20 Grischa Lichtenberger – 0415_01_perepdotchka long tn ms rearg b.
42:57 Bill Orcutt – Anxiety of Symmetry II.
47:12 Giovanni Lami – F.
52:00 Josephine Foster – Birthday Song for the Dead.
56:36 Francesco Fabris & Ben Frost – Magma Fields.
58:12 Miaux – Bal(l)ade Bucolique.

Nichola Scrutton.
Nichola Scrutton is an award-winning composer/sound artist, vocalist and artist who works across a range of mediums and processes, including sound art and soundscape composition, performance, radio art, improvisation, writing and drawing. Nichola has extensive experience as a collaborator in interdisciplinary and participatory contexts, and strong project management skills. She also works with Sonic Bothy inclusive music charity in the Ensemble and across various projects.
https://www.nicholascrutton.co.uk/about/

MIMEO.
Lifting concrete lightly was a four hour improvised performance by pan European electronics ensemble MIMEO, made to transform the Serpentine Gallery Oscar Niemeyer Summer Pavilion London through live play. Directed by Kaffe Matthews, it was a seminal moment for the art scene in London.
https://www.kaffematthews.net/project/lifting-concrete-lightly-2004

Werner Dafeldecker & Valerio Tricoli.
Visionary improvisors Dafeldecker & Tricoli mutually hallucinate a fever dream for double bass, synth, and tape on the reliable Room 40. Trust it really messes with proprioceptive senses on the first piece, and slows everything to sleep paralysis level on the 2nd. We’ll let Tricoli have the honour of doing our dancing to architecture bit below, just don’t ask us to do his…
https://room40.bandcamp.com/album/der-krater

Philip Jeck & Chris Watson.
The final album from the late Philip Jeck is a touching collaboration with master field recordist Chris Watson, focused on a level crossing near Hull
https://philipjeck.bandcamp.com/album/oxmardyke

Rrose.
Rrose’s compositional process, rooted in their studies with West Coast avant garde trailblazers at Mills College, centers on “seed” sounds being fed through elaborate webs of interrelated audio processing. The result is a world where changes in any one element have downstream implications for some or all the others. It’s a rich interdependence that lets the tracks breathe, grow and mutate with uncanny organicism. Please Touch addresses in equal measure the perceptual and the corporeal: these are sounds that sink into the body, exhibiting a tactility that pushes, pulls, bends and yields with fearsome vibrancy.
https://eaux.ro/album/please-touch

Mercury Hall.
A Compilation of Contemporary Italian Tape Electroacoustic and Musique Concrete artists featuring Valerio Tricoli, Mercury Hall, Ezio Piermattei, SEC_, Giovanni Lami, Giulio Nocera, and kNN.
https://nashazphone.bandcamp.com/album/tutto-a-posto-niente-in-ordine

Boris Baltschun.
Desert Dictionary navigates sonic territories oscillating between language and landscape, between notation and noise. Voices responding and contributing to a complementary narrative, connecting personal memories, political considerations and psychological effects of a landscape seemingly empty and quiet. Adjacent, beneath and intertwined a modular synthesizer score based on field notes – a synthesized soundscape appearing as imaginary field recordings, at the same time resembling and unalike the place in question.
https://arbitraryborisbaltschun.bandcamp.com/album/desert-dictionary

7038634357.
Neo Gibson records, performs, and produces under the alias 7038634357. Their music is characterized by its formal precision, melodic structure, and an idiosyncratic emotional tenor. Up until this point, it has been primarily self-released on small-batch CD-R’s and performed in intimate settings. Synthesized and recorded entirely on their computer, Neo Seven is their first vinyl record, and perhaps their seventh release depending on where you begin amidst their prolific and fluid output.
https://blankformseditions.bandcamp.com/album/neo-seven

Fredrik Rasten.
Lineament I and II proceed from two different plucking patterns played on one acoustic and one electric guitar, both sharing a specific tuning from where the two pieces explore diverging tempos and structures. Humming voice, sine waves and two other guitars activated with electronic bows create rich harmonic textures – a stream of vibrating air where rhythmic patterns and tonal decay of the plucked guitars intersect like rippling droplets.
https://sofamusic.bandcamp.com/album/lineaments

Anaïs Tuerlinckx.
Anaïs Tuerlinckx is a Belgian pianist who has been living in Berlin since 2008.

She began playing the piano as a child and discovered the world of free improvised music as a teenager. Her approach to the instrument is based on an intuitive sonic research of the piano, which is extended by using a variety of found objects.
Since 2021, she has been playing on a string box instrument, made by Henri Seiferth. The string box, a simplified piano, is a wooden resonator with shortened piano strings mounted on it. Miroitements Étranges was recorded in her home, where the first piece on the A-side album was composed using her string box, while the rest of the material was recorded with a broken Wiener Zither. The B-side is played on her grand piano.
https://possiblemotive.bandcamp.com/album/miroitements-tranges

Arthur Russell.
Arthur had found his voice and a fresh direction with a set of new, transformative material, unlike anything he or anyone else had previously released. His illness ensured that the artistic growth and sense of exploration encapsulated in ‘World of Echo’ would be tragically curtailed. Within six short years Arthur was gone.
https://arthurrussell.bandcamp.com/album/picture-of-bunny-rabbit

Grischa Lichtenberger.
Lichtenberger’s »Works for Last Work« takes the listener on a journey through the soundscape of Naharin’s masterpiece, a piece that delves deep into themes of death, rebirth, and regeneration. The album features a blend of ambient, experimental, and electronic music, creating a concentrated and intimate sonic universe that perfectly encapsulates the mood and energy of the dance.
https://raster-raster.bandcamp.com/album/works-for-last-work

Bill Orcutt.
Bill Orcutt’s latest “counting” album, The Anxiety of Symmetry, completes a trilogy on his Fake Estates label that started with Pure Genius (2020) and A Mechanical Joey (2021), all realized with his own Cracked computer music software.
https://fakeestates.bandcamp.com/album/the-anxiety-of-symmetry

Giovanni Lami.
In 2021, the Municipality of Cotignola, Ravenna invited sound artist and composer Giovanni Lami to participate in an artist residency as part of a broader project aiming to investigate the anthropic landscape of the local area.
The two-piece composition Monumento Fiume stems from the huge body of field recordings collected by Lami throughout his residency period, which is going to contribute to the soon-to-be Sound archive of Cotignola. As Massimiliano Fabbri points out in the liner notes, “Monumento Fiume” is an oxymoron: this may reflect the both static and dynamic ecology rendered in these two pieces almost entirely crossed by a constant, throbbing tension.
https://kohlhaas.bandcamp.com/album/monumento-fiume

Josephine Foster.
For her austere new solo album, Domestic Sphere, Josephine Foster performs solely with her electric guitar and then subverts the usual range of her voice to embody other frequencies and sounds beyond the surface layer of the songs. She communes so completely with every sound on the record, with the past and the future, animals and insects and birds, those so tenderly dead, and those of us who are alive. Listening to the record is a transcendent experience. It’s an exorcism, one that exorcises you.
https://josephinefostermusic.bandcamp.com/album/domestic-sphere

Francesco Fabris & Ben Frost.
Ben Frost and Francesco Fabris have made an album featuring field recordings of an erupting volcano.
Out March 10th on Room40, Vakning spans seven tracks that challenge the way we think about sound that exists in our immediate environment. Lying dormant since the 12th century, Icelandic volcano Fagradalsfjall erupted in 2021. Within hours, Frost and Fabris, who are both based in Reykjavik, were at the scene collecting field recordings. The pair performed a live premiere of Vakning in Milan in November. A sound artist, composer and musician, Fabris has previously worked with the likes of Swans, Jónsi and Damien Rice. Earlier this month, Frost released his first album in five years, Broken Spectre, which captured the sounds of the Amazon rainforest.
https://benfrost.bandcamp.com/album/vakning

Miaux.
Miaux played her own compositions on the church organ. The songs appeared on the albums Black Space White Cloud, Hideaway, Dive and Gigi – released by Ultra Eczema, Lal Lal Lal and Alien Passengers – and were originally written for electronic keyboard. Mia demonstrates that the church organ, which is normally used as an underscore for sadness or compelling thoughts, is a fitting instrument of connection. Through its resonance, we communicate our sounds.
https://edicoescn.bandcamp.com/album/the-pels-organ-and-hemony-carillon-of-st-catherine-s-church-in-hoogstraten-recording-of-the-unveiling-of-an-artwork-by-joris-martens