Monthly Archives: March 2010

TO:73 – Jana Winderen “Energy Field”

CD – 3 tracks – 50m 11s
6-panel digipak
Photography by Jon Wozencroft

Track listing:

1. Aquaculture 18:00
2. Isolation/Measurement 12:11
3. Sense of Latent Power 20:04

Armed with four 8011 DPA hydrophones, DPA 4060 omni mics, a Telinga parabolic reflector mic and a Sound Devices 744T digital hard disk recorder, Jana Winderen studies and records wild places which have a particular importance in our understanding of the complexity and fragility of marine ecosystems.

The recordings were made on field trips to the Barents Sea (north of Norway and Russia), Greenland and Norway, deep in crevasses of glaciers, in fjords and in the open ocean. These elements are then edited and layered into a powerful descriptive soundscape. The open spaces of Greenland, northern winds, ravens and dogs in an icy landscape provide the setting for these haunting but dynamic pieces. Sounds of crustaceans, fish such as cod, haddock, herring and pollock recorded as they are hunting, calling for a mate or orientating themselves in their environment, are all included in the mix. The result is a powerful, mesmeric journey into the unseen audio world of the frozen north.

Artist statement:

“I like the immateriality of a sound work and the openness it can have for both associative and direct experience and sensory perception. I have been occupied with finding sounds from unseen sources of sound, like blind field recordings. Over the last four years I have collected recordings made by hydrophones, from rivers, shores and the ocean, and more recently also from glaciers in Greenland, Iceland and Norway. In the depths of the oceans there are invisible but audible soundscapes, about which we are largely ignorant, even if the oceans cover 70% of our planet. I am also experimenting with different types of microphones to collect sounds which are not obviously recognisable, but give room for broader, more imaginative readings. I use these sounds as source material for composition in a live environment or to create installations, currently also for film, radio, CD and vinyl productions.”

Artist biography:

Jana Winderen is an artist educated in Fine Art at Goldsmiths College in London, and with a background in mathematics, chemistry and fish ecology from the University in Oslo, Norway. She has since 1993 worked as an artist, curator and producer. She currently lives and works in Oslo, Norway. Her most recent sound works include “Evaporation” (2009) at TodaysArt festival in The Hague, Netherlands, “Sub Pelagic Voices”(2009) for ISCM World New Music Days, Sweden, “Colonisers of the undergrowth” at Botanic Sounds in Göteborg Botanic Gardens; “North Atlantic Drift” (2009) for JunKroom in Kyoto, Japan, based on hydrophone recordings in the Barents Sea; “freq_out 7” curated by CM von Hausswollf at the Happy New Ears festival in Belgium (2008); “Submerge” (2008) for Färgfabriken Norr, Sweden and the 6 channel sound installation “+4°C – from Folgefonna to the North Sea” (2007) at Sleppet during the centenary Greig07 in Norway.

She recently released the CD “Heated: Live in Japan” (2009) on Touch (UK), the audio cassette “The Noisiest Guys on the Planet”(2009) on Ash International (UK), the USB stick, “Ants”, the digital download “Submerged” (2009) on Touch and the 7 inch vinyl “Surface Runoff” (2008) on Autofact (USA). Future projects includes an audio commission for the AV festival and the Environmental Agency in Newcastle (UK) working with the river Coquet in Northumberland, the audio piece “The Land Between” for ‘The Morning Line’, Thyssen-Bornemisza Art Contemporary, Istanbul 2010. Jana also works on a collaborating with ‘Mobile Homes’ for the performance ‘Passing Place’ in Norway and she is currently working on a commission for a permanent sound installation at the Knut Hamsun Centre in Hamarøy, Norway. Recently Jana’s underwater recording was played on BBC Radio 3’s “Late Junction”, and BBC Radio 4 followed Jana on her recording trip in the Barents Sea for the radio series “World on the Move”. Jana has exhibited and performed her work in Canada, Japan, USA, Spain, China, Thailand, France, Hungary, Italy, Denmark, England, Germany, Netherlands, Norway, Belgium and Sweden.

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CPH PIX Festival | BJNilsen, Jacob Kirkegaard & Hilmar Orn Hilmarsson

Copenhagen’s CPH PIX is a feature film festival that aims to bring people together in Denmark’s capital to see good films from all over the world; original, thought-provoking, funny and controversial films that can’t be found in regular cinema programmes. This years festival, running from April 15-25th, features the involvement of three Touch-related artists.
BJNilsen will compose and perform an exclusive score for the newly restored Fritz Lang classic “Metropolis”. PIX will screen the film in Copenhagen’s and Scandinavia’s biggest cinema Imperial, in 7.1 surround sound. BJNilsen’s performance will include field recordings and improvisations. Click here for further info. Tickets for this performance are available online at www.kino.dk
Jacob Kirkegaard will perform together with Lydia Lunch the world premiere of their new piece “Forget to Breathe”. The concert will take place at the Marble Church in Copenhagen, as part of a double concert; second part being Diamanda Gálas’ performance of “Your Kisses are like Fire”. Click here for further info. Tickets for this performance are available online at www.cphpix.dk
Last but not least, Hilmar Örn Hilmarsson is participating in a debate on film music and specifically the sound of horror. He has recently scored Fridrik Thors film “Mama Gogo”, and the horror “Reykjavik Whale Watching Massacre” which we will screen. Jacob Kirkegaard will also participate in the debate; he has worked with sound effects for the Danish horror film “Kollegiet” (“The Dorm”). Click here for further info.
www.cphpix.dk
www.fonik.dk
www.bjnilsen.com

Spire 2 – Enrico Coniglio “Songs from Ruined Days”

320kbps MP3 – 1 track – 45:14
Download-only; a TouchShop exclusive.

Track listing:
1. Songs from Ruined Days
As part of the Spire project, Touch is pleased to announce this download-only release by Italian artist Enrico Coniglio. You can preview an extract from this release in the TouchShop.
Enrico Coniglio is a Venetian musician who focuses his musical research on the representation of the contemporary landscapes. In relation to his studies in urban planning (University IUAV of Venice), his interest is directed towards the loss of identity of places and the uncertainty of the evolution of the urban territory.
If his music comes mainly from the ambient genre, mixing a droning guitar with field recordings and digital manipulation, on the other hand he’s just interested to document the landscape, meaning to build his personal catalogue of soundscapes, with a particular reference to the Venetian lagoon.
Over the last year he has collaborated with various musicians including Joachim Roedelius, Arve Henriksen, Oophoi and others, and he has releases and podcasts with Psychonavigation, Glacial Movements, Cronica electronica and Laverna net. You can hear a previous release “Sapientumsuperacquis” on Touch Radio.
The present release is a long-drone track mostly based on recordings made in Porto Marghera, a big industrial coastal area on the mainland of Venice, Italy (Winter 2009), now largely on disposal and afflicted by a severe economic and environmental crisis. Part of this work was originally used for a sound work in the “Antares” pavilion of VEGA Park (VEnice GAteway for science and technology) for a photography exhibition as a part of the project “Le nuove vie di Porto Marghera”. Other field recordings were made in Vienna, Austria (December 2009), in an attempt to explore the sacral spaces of the city. ‘Song from ruined days’ is a mix of industrial and liturgical soundscape, a brief journey in the space of a full desolation.
Thanks to Foscara Porchia and Chiara Ambrosi (AIPAI Veneto), owners of the project “Le nuove vie di Porto Marghera”, and to Tommy Meduri for the photo.
“Enrico Coniglio is among the best kept secrets of the Italian ambient scene”
(Roberto Mandolini, Rockerilla)
“He deals in a warm, soothing blend of guitar drones, field recordings and digital post-production”
(Ewan Burke, Cyclic Defrost Magazine)
“Coniglio’s atmospheres, meanwhile, take turns at being ethereal and lightflooded, obscured by clouds, ominous and abstract”
(Tobias Fischer, Tokafi)
“Enrico Coniglio creates a series of absorbing ambiences that have a moody enigmatic quality about them – dark, deep pools of sound morphing crackling in places with electrical damage”
(Morpheus Music Reviews).
“Coniglio’s multi-varied collection provides a rich and oft-surprising listening experience”
(Textura)
“This is a must have for ambient DJs!”
(Mixmaster Morris)
Buy Songs from Ruined Days in the TouchShop
www.enricoconiglio.com
www.spire.org.uk

Charlie Gillett

It is with great sadness that we hear of the death of Charlie Gillett. The nicest, kindest man, he was always very supportive of Touch, especially in the 80s and 90s when we released a series of World Music albums. He will be greatly missed.
An obituary can be read on www.guardian.co.uk
www.charliegillett.com

tokafi.com | Eleh & Denis Blackham: mastering Location Momentum

Tokafi have published an interview with Denis Blackham where he discusses mastering the recent Eleh CD and his working relationship with Touch.
Read the article on www.tokafi.com
www.skyemastering.com
www.eleh.org

Ian R. MacLeod’s Flying Saucer Pie

Like many good recipes, this one comes vaguely remembered from a book which is now lost. I reckon the book was probably eaten by the dog; of course, this is also always a sign of quality, as only the best recipe books get enough food splattered on them to become truly attractive to canines. The recipe itself is a cheat, in that it involves putting together a few cheapish and easily obtainable shop-bought things in such a way as to give the impression of many hours of intense labour in a hot kitchen. To my mind, this, again, is no bad thing. The name comes from my daughter’s Emily’s description of what it looks like when finished. If you try it, you’ll soon see what I mean.

500 g packet of puff pastry
500 g of minced beef (or whatever other meat or non-meat takes your fancy)
100 g (ish) packet of sage and onion stuffing mix (or, again, whatever else.)
A large glass of red wine (you can use white for lighter meats)
An egg, lightly whisked.

Thaw and roll out and then cut the puff pastry into two circles, one a little larger than the other. The younger of you will be aiming for diameter of 20 and 25 cm – the older for something like a vinyl LP. Mix the meat and the puff pasty and the wine in a bowl. The rest of the wine in the bottle can, of course, be thrown away. Place the smaller of the two pastry circles on a flat, greased baking pan. Then put that mixture, looking pretty much like an upturned bowl, centrally on the circle, leaving about 2 cm around the edge. Brush the edge with the egg mix, place the bigger pastry circle on top, use a fork to make a pretty pattern where they join, then cut a couple of slots to let the air escape from the top. Trim off any bits which offend artistic sensibilities regarding the circularness of your circle. Use the rest of the egg to glaze the pie (which should by now be looking like a flying saucer unless something has gone seriously wrong) and place in the oven for about an hour and ten mins at gas mark 5 or about 190 centigrade. Make sure it’s good and brown and well cooked and, uh, eat it, although you might like to wait about 20 mins for it to set and cool.

The pie is actually one of those rare things that works even better after a day or so left cold.

www.ianrmacleod.com

Emma Cunniffe’s Favourite White Chocolate and Raspberry Trifle

300g/10oz raspberries
1 swiss roll(not chocolate)
juice of half lime
125g/4oz white chocolate
1tbsp Vodka
150g/5oz double or whipping cream
2tbsp icing sugar
2 x 500ml/17fl oz cartons fresh custard
a few sprigs mint

Place 100g/3oz of raspberries in a sieve placed over a bowl.Use the back of a spoon to push all their juice through into the bowl,leaving the pips behind.Scrape under the sieve so nothing is wasted.Add the lime juice,vodka and sift 1 tablespoon of icing sugar over the top.Stir well.

Slice the swiss roll about 1cm thick and use most of the slices to cover the base and make a single layer up the sides of a nice glass bowl.Moisten the slices with most of the raspberry juice and scatter with another 100g of raspberries.Set aside 20g of the chocolate and break up the rest into small pieces.Place the broken chocolate in a bowl and place inside another bowl filled with boilng water.Stir until the chocolate melts.This takes a few minutes,but if you want to speed it up,bring a small pan of water to the boil and suspend the bowl over the top.When it has melted,stir 1 tablespoon of the cream into the chocolate and then stir the mixture into 1 of the cartons of custard.

Pour half the chocolate custard over the prepared swiss roll and lay the remaining slices on top.Dribble the remaining raspberry sauce over the slices and scatter with most of the remaining raspberries,reserving about 10 to decorate the top of the trifle.Use about half of the second carton of custard to cover the trifle completely.Whip the rest of the cream until stiff and lift up scoops with a fork to decorate the top of the trifle.

Add the reserved raspberries.Grate the remaining chocolate on the large hole of a cheese grater over the top.Plant the mint sprigs here and there and dust the trifle with the rest of the icing sugar.Cover with clingfilm and chill for a minimum 2 hours and for up to 24 hours.Serve with the remaining custard.

Enjoy!!