4 egg whites
1 pinch salt
1 cup castor sugar
1 tsp vanilla essence
2 tsp cornflower
1 tsp vinegar
Preheat oven to 150ºC. Beat egg whites until stiff peaks form. Gradually add the sugar beating all the time… MOST IMPORTANT: make sure sugar is totally dissolved. Lightly fold the cornstarch, vinegar and essence into the mix. Turn the mixture out into the centre of a round baking tray lined with baking paper. Shape into a circle (away from the sides of the tray). Turn oven down to 140ºC and bake for 15 minutes, then turn oven down to 120ºC and bake for a further 1 1/4 hours. Let it cool in the oven overnight. Top with fresh whipped cream, strawberries and kiwifruit.
5 eggs – separated in 5 egg yolks and 3 egg whites
5 spoons of sugar
two cups of cold espresso
savoiardi cookies (lady fingers)
dark chocolate powder
Mix mascarpone with 5 egg yolks and 5 spoons of sugar.
Whip 3 egg whites into egg fluff (test by turning bowl over your head).
Slowly fold in egg fluff with mascarpone cream.
Take a square dish. Dip lady fingers in cold espresso and cover the bottom of the dish. Add a layer of mascarpone cream on top, add another layer of lady fingers dipped in espresso, and add a last level of mascarpone cream. Cover the top with dark chocolate powder. Keep cold in fridge for a few hours before indulging.
CD – 12 tracks – 40:20
Photography: Jon Wozencroft & Heitor Alvelos
Mastered by Denis Blackham
6. Vicarious Solace
7. The Way of Malamat
9. The Other
10. Home, Elicited
11. The Hopeful Night
Faith is the first full-length sound release by media researcher and curator Heitor Alvelos under his own name. Heitor Alvelos has been a long-time on/off collaborator of Touch, having on occasion provided photography and stage visuals for Biosphere, Fennesz, BJNilsen, Rafael Toral and Philip Jeck, as well as releasing sound pieces under the aliases Autodigest, Antifluffy and Before Surgery, on Ash International, TouchRadio and The Tapeworm.
“The essence of the present piece is autobiographical: therefore the use of my own name”, the author clarifies. “And yet it aims at being resonant to others”: in this context, resonance may be regarded as both semantic and visceral, as the sound frequencies on Faith are often of the kind that “rearrange one’s organs”, to quote the recently departed Bernadette Martou. A necessity in order to carry the gravitas inherent to the subject, a confessional confrontation with the zeitgeist.
All sources have been gathered, recorded and produced throughout five decades, all the way back to a recording by Francisco Alvelos in 1972 that closes the release. Elsewhere, sounds have been processed to various degrees, the bookends retaining their original contexts, others mutating into deep abstraction. Overall, they flow as one single composition, evocative and foreboding in equal measures.
Lentils (Red Split)
2 green chili
Oil (preferably olive)
Spices (turmeric, coriander, red chili powder, garam masala)
Clean the lentils in water.
Cut the tomato in small pieces.
Cut the onion, garlic, green chili and ginger in small pieces.
Boil lentils in a container until they become puffy.
Put oil on the frying pan and fry onion, garlic, green chili and ginger finely.
Add turmeric, coriander, red chili powder, garam masala and fry.
Add cut tomato pieces and fry.
Add boiled lentils on top, and stir well.
27.04.15 – Simon Scott – Caxton Gibbet – 31:36 – 320 kbps
The word ‘gibbet’ is used both to refer to an executional structure and to a hanging iron cage that used to display the remains of executed prisoners; when someone is thusly displayed, it is known as ‘gibbeting’.
Recording the wooden gibbet in 2012, believed to be haunted burial site and located at Caxton in Cambridgeshire, to capture the sound of the gallows wood (elm) and saproxylic (dead wood) invertebrates (beetles) that lived within it was a challenge because of the vast amount of traffic that passes by. It is located beside a busy roundabout (A428 to Cambridge) and I initially found it difficult to capture the wooden gibbet creaking and moving in the way I had envisaged. I therefore used contact microphones to get inside the construction. I was inspired by the grim history of this location, the place of multiple murders and capital punishment, and also from reading about Bernie Krause (b.1938) who, on the CD included in his wonderful book “Wild Soundscapes”, explains that “recordings are an illusion… the best microphone systems and recorders cannot possibly reproduce exactly what our ears hear in the holophonic way that we hear it” (2002). He documented acoustic environments that faced dramatic change or extinction but often needed to recreate the sounds of nature by double tracking or changing microphone placement.
This location has changed dramatically recently as a McDonalds fast food restaurant opened on this site recently.
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Play “Caxton Gibbet”